Commenting on artists such as Avedon, Clifford, Mapplethorpe, and Nadar, Roland Barthes presents photography as being outside the codes of language or culture, acting on the body as much as on the mind, and rendering death and loss more acutely than any other medium. This groundbreaking approach established Camera Lucida as one of the most important books of theory on this subject, along with Susan Sontag's On Photography.

    Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”

    This anthology charts the history of those debates, bringing together the key, classic essays in feminist film theory. Feminist Film Theory maps the impact of major theoretical developments on this growing field-from structuralism and psychoanalysis in the 1970s, to post-colonial theory, queer theory, and postmodernism in the 1990s.Covering a wide range of topics, including oppressive images, woman as fetishized object of desire, female spectatorship, and the cinematic pleasures of black women and lesbian women, Feminist Film Theory is an indispensable reference for scholars and students in the field.Contributors include Judith Butler, Carol J. Clover, Barbara Creed, Michelle Citron, Mary Ann Doane, Teresa De Lauretis, Jane Gaines, Christine Gledhill, Molly Haskell, bell hooks, Claire Johnston, Annette Kuhn, Julia Lesage, Judith Mayne, Tania Modleski, Laura Mulvey, B. Ruby Rich, Kaja Silverman, Sharon Smith, Jackie Stacey, Janet Staiger, Anna Marie Taylor, Valerie Walkerdine, and Linda Williams.

    Drawing on 40 years of experience on movies ranging from Long Day's Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.

      After inheriting the Post from her father, and assuming its leadership in 1963 after the death of her husband, Graham found herself unexpectedly playing a role in history. Here she recounts the riveting episodes that transformed a shy widow into a newspaper legend, as she defied the government to publish the Pentagon Papers’ secrets about the Vietnam War and then led the way in exposing the Watergate scandal. Graham gives us an intimate behind-the-scenes view of the tense debates and high stakes she and her editors faced, and concludes with a powerful argument for the freedom of the press as a bulwark against abuses of power. An ebook short.

    Now, for the first time, del Toro reveals the inspirations behind his signature artistic motifs, sharing the contents of his personal notebooks, collections, and other obsessions. The result is a startling, intimate glimpse into the life and mind of one of the world's most creative visionaries. Complete with running commentary, interview text, and annotations that contextualize the ample visual material, this deluxe compendium is every bit as inspired as del Toro is himself.Contains a foreword by James Cameron, an afterword by Tom Cruise, and contributions from other luminaries, including Neil Gaiman and John Landis, among others.

    For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

    Whether spectacular or subtle, elaborate or barely there, a movie costume must be more than merely a perfect fit. Each costume speaks a language all its own, communicating mood, personality, and setting, and propelling the action of the movie as much as a scripted line or synthetic clap of thunder. More than a few acting careers have been launched on the basis of an unforgettable costume, and many an era defined by the intuition of a costume designer—think curvy Mae West in I'm No Angel (Travis Banton, costume designer), Judy Garland in A Star is Born (Jean Louis and Irene Sharaff, costume designers), Diane Keaton in Annie Hall (Ruth Morley, costume designer), or Harrison Ford as Indiana Jones in Raiders of the Lost Ark (Deborah Nadoolman Landis, costume designer).In Dressed: A Century of Hollywood Costume Design, Academy Award-nominated costume designer Deborah Nadoolman Landis showcases one hundred years of Hollywood's most tantalizing costumes and the characters they helped bring to life. Drawing on years of extraordinary research, Landis has uncovered both a treasure trove of costume sketches and photographs—many of them previously unpublished—and a dazzling array of first-person anecdotes that inform and enhance the images. Along the way she also provides and eye-opening, behind-the-scenes look at the evolution of the costume designer's art, from its emergence as a key element of cinematic collaboration to its limitless future in the era of CGI.A lavish tribute that mingles words and images of equal luster, Dressed is one book no film and fashion lover should be without.

    Internationally-renowned directing coach Weston demonstrates what constitutes a good performance, what actors want from a director, what directors do wrong, script analysis and preparation, how actors work, and shares insights into the director/actor relationship.

    Embraced as a cultural touchstone, the 1993 film would also make Matthew McConaughey’s famous phrase—alright, alright, alright—ubiquitous. But it started with a simple idea: Linklater thought people might like to watch a movie about high school kids just hanging out and listening to music on the last day of school in 1976.    To some, that might not even sound like a movie. But to a few studio executives, it sounded enough like the next American Graffiti to justify the risk. Dazed and Confused underperformed at the box office and seemed destined to disappear. Then something weird happened: Linklater turned out to be right. This wasn’t the kind of movie everybody liked, but it was the kind of movie certain people loved, with an intensity that felt personal. No matter what their high school experience was like, they thought Dazed and Confused was about them.Alright, Alright, Alright is the story of how this iconic film came together and why it worked. Combining behind-the-scenes photos and insights from nearly the entire cast, including Matthew McConaughey, Parker Posey, Ben Affleck, Joey Lauren Adams, and many others, and with full access to Linklater’s Dazed archives, it offers an inside look at how a budding filmmaker and a cast of newcomers made a period piece that would feel timeless for decades to come.