Style assigns films to a tradition, distinguishes a classic, and signals the arrival of a pathbreaking innovation. David Bordwell now shows how film scholars have attempted to explain stylistic continuity and change across the history of cinema.Bordwell scrutinizes the theories of style launched by AndrE Bazin, NoEl Burch, and other film historians. In the process he celebrates a century of cinema, integrating discussions of film classics such as The Birth of a Nation and Citizen Kane with analyses of more current box-office successes such as Jaws and The Hunt for Red October. Examining the contributions of both noted and neglected directors, he considers the earliest filmmaking, the accomplishments of the silent era, the development of Hollywood, and the strides taken by European and Asian cinema in recent years.On the History of Film Style proposes that stylistic developments often arise from filmmakers' search for engaging and efficient solutions to production problems. Bordwell traces this activity across history through a detailed discussion of cinematic staging. Illustrated with more than 400 frame enlargements, this wide-ranging study provides a new lens for viewing cinema.

    Lloyd Kaufman's spirited, outrageous, no-holds-barred look at low-budget, guerilla filmmaking is truly an inspiration to

    

    This study analyzes Chinatown in the context of the figure of the detective in literature and film from Sophocles to Edgar Allan Poe and Alfred Hitchcock.

    The magic of the silent screen, illuminated by the recollections of those who created it.A narrative and photographic history of the early days of the movies, combining fact, anecdote, and reminiscence in a critical survey of films, actors, directors, producers, writers, editors, technicians, and other participants and hangers-on.

    With intriguing insights from film critics and a wealth of factual details from historians and academics, general editor Stephen Jay Schneider has brought together the data, the drama, and the passions that have inspired movies about time travel, close encounters, distant planets, extraterrestrial monsters, alien invasions, and the many other story ingredients that enliven science fiction films. Plot summaries, cast and credit listings, and 200 dramatic illustrations recapture unforgettable moments from sci-fi hits that include " Alien, The Andromeda Strain, The Empire Strikes Back, The Fly, The Incredible Shrinking Man, Planet of the Apes, Silent Running, The Thing, " and many, many others. Illustrations include dramatic still shots from the films and memorable movie posters. Here is a reference volume that belongs on the bookshelf of every film buff and science fiction fan.

    Hailed by the New York Times as the "godmother to the politically committed film" and by Interview as a true "auteur producer," Christine Vachon has made her name with such bold, controversial, and commercially successful films as "Poison," "Swoon," Kids," "Safe," "I Shot Andy Warhol," and "Velvet Goldmine."Over the last decade, she has become a driving force behind the most daring and strikingly original independent filmmakers-from Todd Haynes to Tom Kalin and Mary Harron-and helped put them on the map.So what do producers do? "What don't they do?" she responds. In this savagely witty and straight-shooting guide, Vachon reveals trheguts of the filmmaking process--rom developing a script, nurturing a director's vision, getting financed, and drafting talent to holding hands, stoking egos, stretching every resource to the limit and pushing that limit. Along the way, she offers shrewd practical insights and troubleshooting tips on handling everything from hysterical actors and disgruntled teamsters to obtuse marketing executives.Complete with behind-the-scenes diary entries from the sets of Vachon's best-known films, Shooting To Kill offers all the satisfactions of an intimate memoir from the frontlines of independent filmmaking, from one of its most successful agent provocateurs-and survivors.

    In Shit, Actually, Lindy returns to those roots, re-examining beloved and iconic movies from the past 40 years with an eye toward the big questions of our time: Is Twilight the horniest movie in history? Why do the zebras in The Lion King trust Mufasa-WHO IS A LION-to look out for their best interests? Why did anyone bother making any more movies after The Fugitive achieved perfection? And, my god, why don't any of the women in Love, Actually ever fucking talk?!?!From Forrest Gump, Honey I Shrunk the Kids, and Bad Boys II, to Face/Off, Top Gun, and The Notebook, Lindy combines her razor-sharp wit and trademark humor with a genuine adoration for nostalgic trash to shed new critical light on some of our defining cultural touchstones-the stories we've long been telling ourselves about who we are. At once outrageously funny and piercingly incisive, Shit, Actually reminds us to pause and ask, "How does this movie hold up?", all while teaching us how to laugh at the things we love without ever letting them or ourselves off the hook.Shit, Actually is a love letter and a break-up note all in one: to the films that shaped us and the ones that ruined us. More often than not, Lindy finds, they're one and the same.

    A backstage glimpse of the realities of the new Hollywood focuses on the film releases and strategies of the summer of 1998, showing why Godzilla was fated to fail and how Spielberg triumphed.

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    Here they offer 140 strategies for making movies no matter what. Amateurs as well as seasoned veterans can pick up this entertaining and incredibly useful guide in any place--at any point of crisis--and find tactics that work. Whether it's raising money or cutting your budget; dealing with angry landlords or angry cops; or jump-starting the production or stalling it while you finish the script, these strategies are delivered with funny, illustrative anecdotes from the authors' experiences and from veteran filmmakers eager to share their stories. Irreverent, invaluable, and a lot cheaper than a year's tuition, this friendly guide is the smartest investment any future filmmaker could make.Strategies from the book include: Love your friends for criticizing your work--especially at the script stage; Shyness won't get you the donuts; Duct tape miracles; Don't fall in love with cast or crew (but if you do...).

    . . The book as a whole offers a fascinating look at how this movie tells a timeless story.” —The Washington PostMrs. Robinson, you’re trying to seduce me. Aren’t you? When The Graduate premiered in December 1967, its filmmakers had only modest expectations for what seemed to be a small, sexy art-house comedy adapted from an obscure first novel by an eccentric twenty-four-year-old. There was little indication that this offbeat story—a young man just out of college has an affair with one of his parents’ friends and then runs off with her daughter—would turn out to be a monster hit, with an extended run in theaters and seven Academy Award nominations. The film catapulted an unknown actor, Dustin Hoffman, to stardom with a role that is now permanently engraved in our collective memory. While turning the word plastics into shorthand for soulless work and a corporate, consumer culture, The Graduate sparked a national debate about what was starting to be called “the generation gap.” Now, in time for this iconic film’s fiftieth birthday, author Beverly Gray offers up a smart close reading of the film itself as well as vivid, never-before-revealed details from behind the scenes of the production—including all the drama and decision-making of the cast and crew. For movie buffs and pop culture fanatics, Seduced by Mrs. Robinson brings to light The Graduate’s huge influence on the future of filmmaking. And it explores how this unconventional movie rocked the late-sixties world, both reflecting and changing the era’s views of sex, work, and marriage.

    Jeanine Basinger gives us an immensely entertaining look into the “star machine,” examining how, at the height of the studio system, from the 1930s to the 1950s, the studios worked to manufacture star actors and actresses. With revelatory insights and delightful asides, she shows us how the machine worked when it worked, how it failed when it didn’t, and how irrelevant it could sometimes be. She gives us the “human factor,” case studies focusing on big stars groomed into the system: the “awesomely beautiful” (and disillusioned) Tyrone Power; the seductive, disobedient Lana Turner; and a dazzling cast of others—Loretta Young, Errol Flynn, Irene Dunne, Deanna Durbin. She anatomizes their careers, showing how their fame happened, and what happened to them as a result. (Both Lana Turner and Errol Flynn, for instance, were involved in notorious court cases.) In her trenchantly observed conclusion, she explains what has become of the star machine and why the studios’ practice of “making” stars is no longer relevant. Deeply engrossing, full of energy, wit, and wisdom, The Star Machine is destined to become an invaluable part of the film canon.

    The Orphanage was created by three twenty-something visual effects veterans who wanted to make their own feature films and discovered they could do this by utilizing home computers, off the shelf software, and approaching things artistically. This guide details exactly how to do this: from planning and selecting the necessary cameras, software, and equipment, to creating specific special effects (including gunfire, Kung Fu fighting, car chases, dismemberment, and more) to editing and mixing sound and music. Its mantra is that the best, low-budget action moviemakers must visualize the end product first in order to reverse-engineer the least expensive way to get there. Readers will learn how to integrate visual effects into every aspect of filmmaking--before filming, during filming and with "in camera" shots, and with computers in postproduction. Throughout the book, the author makes specific references to and uses popular action movies (both low and big-budget) as detailed examples--including El Mariachi, La Femme Nikita, Die Hard, and Terminator 2. Note from the Publisher: If you have the 3rd printing of The DV Rebel’s Guide, your disc may be missing the data files that accompany the book. If this is the case, please send an email to Peachpit in order to obtain the files at ask@peachpit.com

    He is now unfit for conventional employment. Because of the addictive nature of these films, we the publishers cannot guarantee that your sanity won't be endangered by reading this book.