His witty, incisive criticism later worked exacting language into an exploration of the feelings and strategies that went into low-budget and radical films as diverse as Michael Snow's Wavelength, Werner Herzog's Fata Morgana, and Chantal Akerman's Jeanne Dielman. Expanded with an in-depth interview and seven essays written with his wife, artist Patricia Patterson, Negative Space gathers Farber's most influential writings, making this an indispensable collection for all lovers of film.

    In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the -central-conflict theory.- Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.

    Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs commonsense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and Chaplin. Perkins examines the origins of movies and embraces their use of both realism and magic, their ability to record as well as to create. In the process he seeks to discover the synthesis between these opposing elements. With the delight of the fan and the perception of the critic, Perkins advances a film theory, based on the work of Bazin and other early film theorists, that is rich with suggestion for debate and further pursuit. Sit beside Perkins as he reacquaints you with cinema, heightens your awareness, deepens your pleasure, and increases your return every time you invest in a movie ticket.

    In the book Wenders moves from a contemplation of pure cinema, to a consideration and analysis of his own films. Beginning with the question: Why do you make films?, Wenders expresses his own unique approach to cinema.

    Divided into three sections, Part One deals with the work of S.M. Eisenstein, both as a director and theorist of his art. Part two concerns the auteur theory and investigates the recurrence of themes and images throughout a director's career. Part three shows how the study of cinema can be considered a province of the general study of signs. Throughout this richly illustrated book the relationship of the cinema to the other arts is kept constantly before the reader. This new edition includes a retrospective chapter by the author.

    It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in colour, "Film Art" has been updated to include analysis of some of the most interesting films of recent years including "Raging Bull" and "Desperately Seeking Susan".

    In Typeset in the Future, blogger and designer Dave Addey invites sci-fi movie fans on a journey through seven genre-defining classics, discovering how they create compelling visions of the future through typography and design. The book delves deep into 2001: A Space Odyssey, Star Trek: The Motion Picture, Alien, Blade Runner, Total Recall, WALL·E, and Moon, studying the design tricks and inspirations that make each film transcend mere celluloid and become a believable reality. These studies are illustrated by film stills, concept art, type specimens, and ephemera, plus original interviews with Mike Okuda (Star Trek), Paul Verhoeven (Total Recall), and Ralph Eggleston and Craig Foster (Pixar). Typeset in the Future is an obsessively geeky study of how classic sci-fi movies draw us in to their imagined worlds—and how they have come to represent “THE FUTURE” in popular culture.

    Analyses of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor. This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice. This new edition has been updated to include the latest advances in digital video and nonlinear editing and explores the new trend of documentary as mainstream entertainment, using films such as "Farenheit 9/11" and "The Fog of War" as examples.

    Over the course of his career, he has remained true to a vision of the innocent lost in darkness and confusion, balancing hallucination and surrealism with a sense of Americana that is as pure and simple as his compelling storylines. In this volume, Lynch speaks openly about his films as well as about his lifelong commitment to painting, his work in photography, his television projects, and his musical collaborations with Angelo Badalamenti.

    

    This enlightening book guides filmmakers toward making the right color selections for their films, and helps movie buffs understand why they feel the way they do while watching movies that incorporate certain colors.Guided by her twenty-five years of research on the effects of color on behavior, Bellantoni has grouped more than 60 films under the spheres of influence of six major colors, each of which triggers very specific emotional states. For example, the author explains that films with a dominant red influence have themes and characters that are powerful, lusty, defiant, anxious, angry, or romantic and discusses specific films as examples. She explores each film, describing how, why, and where a color influences emotions, both in the characters on screen and in the audience. Each color section begins with an illustrated Home Page that includes examples, anecdotes, and tips for using or avoiding that particular color.Conversations with the author's colleagues - including award-winning production designers Henry Bumstead (Unforgiven) and Wynn Thomas (Malcolm X) and renowned cinematographers Roger Deakins (The Shawshank Redemption) and Edward Lachman (Far From Heaven) - reveal how color is often used to communicate what is not said.Bellantoni uses her research and experience to demonstrate how powerful color can be and to increase readers awareness of the colors around us and how they make us feel, act, and react. Learn how your choice of color can influence an audience's moods, attitudes, reactions, and interpretations of your movie's plot. See your favorite films in a new light as the author points out important uses of color, both instinctive and intentional. Learn how to make good color choices, in your film and in your world.

    In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work. Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.In Sculpting in Time, Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films--Ivan's Childhood, Andrey Rublyov, Solaris, The Mirror, Stalker, Nostalgia, and The Sacrifice. He discusses their history and his methods of work, he explores the many problems of visual creativity, and he sets forth the deeply autobiographical content of part of his oeuvre--most fascinatingly in The Mirror and Nostalgia. The closing chapter on The Sacrifice, dictated in the last weeks of Tarkovsky's life, makes the book essential reading for those who already know or who are just discovering his magnificent work.

    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.

    Published in conjunction with an exhibition launched at the Victoria and Albert Museum in London that the New York Times called “extraordinary,” the book showcases the talents of renowned designers such as Adrian, Edith Head, and Sandy Powell, among many others, whose work spans the silent era to the Golden Age of Hollywood to the present day. Essays by a wide variety of leading scholars, archivists, and private collectors, as well as contributions by contemporary costume designers, actors, and directors, take a close look at the conventions of what is considered “costume” and the role of the designer in creating a film’s characters and helping to shape its narrative. With memorable wardrobe classics from The Tramp, Ben-Hur, Cleopatra, The Wizard of Oz, Gone with the Wind, Pirates of the Caribbean, Ocean’s Eleven, Sherlock Holmes, Avatar, and many more, Hollywood Costume is the ultimate volume for fashionistas and film lovers alike. Praise for Hollywood Costume: “More than a book, it’s a display and worthy of every coffee table.” —DailyCandy

    Rahman. This book, unique for Indian cinema, illuminates the genius of the man behind these and eighteen other masterly films. For the first time ever, Mani Ratnam opens up here, to Baradwaj Rangan, about his art, as well as his life before films.In these freewheeling conversations, candid, witty, pensive, and sometimes combative, many aspects of his films are explored. Mani elaborates in a personal vein on his choice of themes, from the knottiness in urban relationships (Agni Natchatiram) to the rents in the national fabric (Bombay); his directing of children (Anjali); his artful use of songs; his innovative use of lighting, as also his making films in Hindi and other languages. There are fond recollections of collaborations with stalwarts like Balu Mahendra, P.C. Sreeram, Thotta Tharani, and Gulzar, among many others. And delectable behind-the-scenes stories—from the contrasting working styles of the legendary composer Ilayaraja and Rahman to the unexpected dimensions Kamal Haasan brought to the filming of Nayakan to what Raavan was like when originally conceived. In short, like Mani Ratnam’s films, Conversations with Mani Ratnam surprises, entertains and stimulates.With Rangan’s personal and impassioned introduction setting the Tamil and national context of the films, and with posters, script pages, and numerous stills, this book is a sumptuous treat for serious lovers of cinema as well as the casual moviegoer looking for a peek behind the process.