I. PUDOVKIN Translated by IVOR MONTAGU Introduction by LEWIS JACOBS BONANZA BOOKS NEW YORK CONTENTS PAGE CONTENTS FILM TECHNIQUE A separate table of contents for FILM ACTING appears at the beginning of that volume. INTRODUCTION BY LEWIS JACOBS iii INTRODUCTION TO THE GERMAN EDITION . . xiii I. THE FILM SCENARIO AND ITS THEORY FOREWORD 1 PART I. THE SCENARIO .... 3 The meaning of the shooting-script The construction of the scenarioThe theme The action-treatment of the theme Conclusion. PART H. THE PLASTIC MATERIAL . . 26 The simplest specific methods of shooting-Method of treatment of the material struc tural-editing Editing of the scene Editing of the sequence Editing of the Scenario-Editing as an instrument of impression rela tional editing. II. FILM DIRECTOR AND FILM MATERIAL PART I. THE PECULIARITIES OF FILM MATERIAL 51 The film and the theatre The methods of the film Film and reality Filmic space and time The material of films Analysis Editing the logic of filmic analysis The necessity to interfere with movement Organisation of the material to be shot Arranging setups The organisation of chance material Filmic form The technique of directorial work. PART H. THE DIRECTOR AND THE SCENARIO 93 The director and the scenarist The environ ment of the film-The characters in the envir iv uUC aiY MO. 7158987 PAGE onment The establishment of the rhythm of the film. PABT III. THE DIRECTOR AND THE ACTOR 105 Two kinds of production The film actor and the film type Planning the acting of the film type The ensemble Expressive movement-Expressive objects The director as creator of the ensemble. PART IV. THE ACTOR IN THE FRAME . 118 The actor and the filmic image The actor and light. PART V. THE DIRECTOR AND THE CAMERA MAN 120 The cameraman and the camera The camera and its viewpoint The shooting of movement The camera compels the spectator to see as the director wishes The shaping of the com position-The laboratory-Collectivism the basis of film-work. III. TYPES INSTEAD OF ACTORS . 137 IV. CLOSE-UPS IN TIME 146 V. ASYNCHRONISM AS A PRINCIPLE OF SOUND FILM 155 VL RHYTHMIC PROBLEMS IN MY FIRST SOUND FILM 166 VII. NOTES AND APPENDICES A. GLOSSARIAL NOTES . 175 B. SPECIAL NOTES 180 C. ICONOGRAPHY OF PUDOVKINs WORKS . 192 D. INDEX OF NAMES .... 196 The numerals in the text refer to Appendix B. INTRODUCTION THERE are few experiences more important in the education of a newcomer to motion pic tures than the discovery of V. I. Pudovkins Film Technique and Film Acting. No more valuable manuals of the practice and theory of film making have been written than these two handbooks by the notable Soviet director. So sound are their points of view, so valid their tenets, so revelatory their analyses, that they remain today, twenty years after their initial appear ance, the foremost books of their kind. First published abroad in 1929 and 1933 respectively, Film Technique and Film Acting brought to the art of film making a code of principles and a rationale that marked the mediums analytic coming of age. Until their publication, the motion picture maker had to eke out on his own any intellectual or artistic considera tions of film craft. No explicit body of principles existed upon which the film maker could draw with confidence. Film technique was a more or less hit or miss affair that existed in a kind of fragmentary state which, in the main, leaned heavily upon theatrical methods. These pioneering books made clear at once that movie making need no longer flounder for a methodol ogy or for its own standards. They elucidated what iv FILM TECHNIQUE AND FILM ACTING were the fundamentals of film art and defined the singular process of expression that distinguished it from all other media. Now film theory and practice could be attacked with greater assurance and efficiency...

    Altho they have no bodies to move around with, they're free to mentally visit any of the other residents, & engage in all the emotional, intellectual & pseudo-sexual congress that they desire. This is the story of a projection of life in the 25th century. People have been reduced to Cerebromorphs--disembodied brains stored in tanks in huge Depositories & wired up to computers, memory files & mammoth study programmes. In the tanks they're supposed to pass thru various levels of understanding before they are liberated, implanted in hatchery-nurtured perfect bodies & sent back into a pastoral paradise flourishing outside. The novel follows a small group of these brains: that of a 12-year-old boy killed in an air crash; an ex-movie queen, fastidious, rich & lethal; a former Nigerian sculptor & the last of the great humanists.

    Superstar Izzy Stark has the power to make your dreams - and nightmares - come true. He's the master of disaster, the guru of gore, the doctor of doom, the duke of death and destruction - and you can't escape this command performance.

    But visitors Gerald Sternbruck and Ernst Carlsberg soon realise that the still waters of the lake conceal a frightful evil that preys on flora, fauna - and human beings.Then they discover that the same evil first manifested itself before the valley was flooded - and may have been the basis for H.P. Lovecraft's classic story The Colour out of Space.For fifty years one waman has been planning her revenge on the monstrous force which caused the strange shimmering colours -- and sucks the very life from the people in its clutches....

    31 pages of chapter summaries, quotes, character analysis, themes, and more – everything you need to sharpen your knowledge of Debt of Bones. This detailed literature summary also contains Topics for Discussion and a Free Quiz on Debt of Bones by Terry Goodkind.

    Here, along with the usual monsters - vampires, werewolves, ghouls, and some of Dr Frankenstein's more freakish creations - you'll find other, less familiar ones. You'll meet the frightening Fly-by-Night, the hideous shaddy, the horrible mock, and the dreaded shadmock, perhaps the most terrible of all. When Donald McCloud offers a starving man a meal, he unexpectedly discovers that the man is a vampire - and he's the main course! Accompanying the vampire, Eramus, to The Monster Club, Donald encounters a whole host of strange monsters, who, in a series of five linked stories, recount to Donald their monstrous exploits. But as Donald is regaled with these tales of monsters and their unfortunate human victims, it gradually dawns on him that as the only human in a club full of bloodthirsty monsters, he might be in a bit of a predicament. . . . First published as a paperback original in 1976, R. Chetwynd-Hayes's "The Monster Club" was adapted for a 1981 film starring Vincent Price, John Carradine and Donald Pleasence, and both book and film have gone on to become cult classics. Told in a wry, tongue-in-cheek style, the tales in "The Monster Club" are simultaneously horrific, comical, and curiously moving. This edition is the first in more than twenty years and features a new introduction by Stephen Jones and a reproduction of John Bolton's painting from the comic book adaptation of the film.

    In this collection there are tales of Hyperborea, Zothique, Averoigne, Atlantis, Xiccarph, and other vanished worlds of Smith's unparalleled creation. Here are such unforgettable tales as Vulthoom, The Colossus of Ylourgne, The Charnel God, The Black Abbot of Puuthuum, The Weaver in the Vault, and others.None strikes the note of cosmic horror as well as Clark Ashton Smith. In sheer daemonic strangeness and fertility of conception, Smith is perhaps unexcelled by any other writer, dead or living - H.P. LovecraftHe had a monstrously vivid imagination, a keenly ironic sense of humour, and an uninhibited bent for the macabre. - L. Sprague de CampCover illustration by Brice Pennington

    Spending his lunch hours in a porno theater to relieve his boredom, a young advertising executive discovers an obscure film called Throat Sprockets and develops a fascination for women's throats that gradually consumes his life.

    Now the final nightmare must explode. Now the killing frenzy must begin...

    A collection of four books in the "Bulldog Drummond" series, written by "Sapper", (a pseudonym of Herman Cyril McNeale) in the early 1920s.The stories follow the adventures of Captain Hugh "Bulldog" Drummond, D.S.O., M.C., a wealthy former WWI officer of the Loamshire Regiment, who, after the war, spends his new-found leisure time as a private detective.Drummond is a James Bond-like figure and a rougher version of the adventurers depicted by the likes of John Buchan and Rider Haggard.Included in this volume: Book One: Bulldog Drummond; Book Two: The Black Gang; Book Three: The Third Round; Book Four: The Final Count.

    Things at Donovan's Bar get a little raucous sometimes and the people carry their share of Ireland's tragic history, but in Kilgallan, the fights are happy, the songs are sad and the days are as rich as slow-poured, peaty beer.It happens first to the children.To little Mikey Boyle, whose auntie takes off all her clothes, takes his off too, and persuades him into the river...To sweet Marie Lally, barely sixteen, when Mike O'Hara ties the cord around her neck and slides up her nightgown...Village tragedies. Casual eruptions of horror... but at the heart of a nearby hill, something turns in its sleep.Breathes...Awakes...The Shee will put her fingers into your dreams and leave you crying for more.

    

    Drawing strongly on history, this intriguing story makes us fear for the future.

    Some of them fall nearby, but when Jason and Ritchie go to investigate, they are attacked by a werewolf-like creature, and Ritchie is injured. This is a novel of relationships, of apocalyptic adventure, and very personal sacrifice. Fast-paced and gaining speed with each page, Moonbane is a poetic novel that works on a number of unexpected levels, running the gamut from taut suspense to outright mayhem.

    Joseph A. Citro's widely read publications about the more haunting history, legends, and lore of New England have earned him a reputation as an expert on themes of the supernatural. In this book (first published in 1987), however, he deftly melds real-life ancient ruins, a keen eye for the social fabric of small-town Vermont, and a soaring imagination to fashion a gripping tale of a family's life-or-death struggle to save their farm from an enemy far more devastating than banks, taxes, or land developers. Eric Nolan is a man already too familiar with death. His brother's long-ago disappearance, the loss of his parents, and his wife's recent demise in an auto accident have left him near the edge physically and emotionally. In desperation he returns to his boyhood haunt, the family farm in rural Antrim, Vermont, now occupied by his cousin, Pamela, her husband, Clint, and Luke, their four-year-old son. But any solace Eric might find there is short-lived. Something terrible is going on in the woods on Pinnacle Mountain and it seems to be centered around a mysterious stone structure that, a local historian believes may be the relic of an ancient race. The mystery deepens as people begin to vanish one by one, first a village policeman, then a local hermit, a researcher, and finally Clint himself. As baffling and violent incidents continue it becomes harder to deny that a powerful and malevolent force is at work in the Green Mountains, a force that has targeted young Luke. Though it defies Eric's every rational instinct, he must ultimately confront a reality he can neither accept nor deny. As he and the others struggle to quell the rising tide of evil, the siege escalates to a brutal battle for life itself. Citro twists every shock possible out of this finely crafted gothic thriller that tests the limits of legend and belief.