But the time is not far off, Live Cinema and Its Techniques demonstrates, when a director or a collaborative team of filmmakers working across the internet will create "live" movies that will be sent instantly via satellite for viewing throughout the world.Yet the creative demands posed by airing live sporting contests, as impressive as the final product is, pale in contrast with the ambitions of "cinematic auteurs," who are inspired by great directors, like Serge Eisenstein, Max Ophuls, or Alfred Hitchcock, among many others. As daunting as the challenge is, the process of integrating the highest artistic standards of previous generations into the medium of "live cinema" can, Coppola explains, be achieved, thus creating an entirely new art form for the so-called "screen." Tapping into his own encyclopedic knowledge of twentieth-century film history, Coppola threads his vision of this burgeoning cinematic medium with autobiographical and historical vignettes gleaned from the past, recalling his own boyhood obsession with film and his early fascination with the "Golden Age of Television," when 1950s viewers were treated to live productions of classics, like Days of Wine and Roses and Requiem for a Heavyweight.Especially exciting is the exhilaration and drama that results from retraining actors and using a multitude of cameras to create a film that has the in-the-moment energy of a live event. Having already tried out this new medium with "proof-of-concept workshops" at Oklahoma City Community College and at UCLA, Coppola has created an invaluable guide for students and teachers alike. Filled with discussions of how to rehearse actors, how to choose scenery and location, and how to overcome theatrical, as well as technical, obstacles, Live Cinema and Its Techniques reveals how the spontaneity of this new genre can ultimately transport filmmaking into a new era of creativity still unimaginable today.Featuring chapters on:A Short History of Film and TelevisionThe Actors, Acting, and RehearsalThe Question of Style in the CinemaObstacles and Other Thoughts on Live Cinema No Matter What They May BeEquipment: Now and in the Near Future

    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.

    In the past decade, Hollywood has endured a cataclysm on a par with the end of silent film and the demise of the studio system. Stars and directors have seen their power dwindle, while writers and producers lift their best techniques from TV, comic books, and the toy biz. The future of Hollywood is being written by powerful corporate brands like Marvel, Amazon, Netflix, and Lego, as well as censors in China.Ben Fritz chronicles this dramatic shakeup with unmatched skill, bringing equal fluency to both the financial and entertainment aspects of Hollywood. He dives deeply into the fruits of the Sony hack to show how the previous model, long a creative and commercial success, lost its way. And he looks ahead through interviews with dozens of key players at Disney, Marvel, Netflix, Amazon, Imax, and others to discover how they have reinvented the business. He shows us, for instance, how Marvel replaced stars with “universes,” and how Disney remade itself in Apple’s image and reaped enormous profits.But despite the destruction of the studios’ traditional playbook, Fritz argues that these seismic shifts signal the dawn of a new heyday for film. The Big Picture shows the first glimmers of this new golden age through the eyes of the creative mavericks who are defining what our movies will look like in the new era.

    By the end of the following year, moviegoers couldn't get enough of him and his iconic persona, the Little Tramp. Perpetually outfitted with baggy pants, a limp cane, and a dusty bowler hat, the character became so beloved that Chaplin was mobbed by fans, journalists, and critics at every turn. Although he never particularly liked giving interviews, he accepted the demands of his stardom, giving detailed responses about his methods of making movies. He quickly progressed from making two-reel shorts to feature-length masterpieces such as The Gold Rush, City Lights, and Modern Times. Charlie Chaplin: Interviews offers a complex portrait of perhaps the world's greatest cinematic comedian and a man who is considered to be one of the most influential screen artists in movie history. The interviews he granted, performances in and of themselves, are often as well crafted as his films. Unlike the Little Tramp, Chaplin the interviewee comes across as melancholy and serious, as the titles of some early interviews-"Beneath the Mask: Witty, Wistful, Serious Is the Real Charlie" or "The Hamlet-Like Nature of Charlie Chaplin"-make abundantly clear. His first sound feature, The Great Dictator, is a direct condemnation of Hitler. His later films such as Monsieur Verdoux and Limelight obliquely criticize American policy and consequently generated mixed reactions from critics and little response from moviegoers. During this late period of his filmmaking, Chaplin granted interviews less often. The three later interviews included here are thus extremely valuable, offering long, contemplative analyses of the man's life and work.

    This major collection of writings draws primarily upon two long out-of-print books--Metaphors on Vision and Brakhage Scrapbook. Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. Brakhage discusses his predecessors and contemporaries, relates film to dance and poetry, and in "A Moving Picture Giving and Taking Book" provides a manual for the novice filmmaker. Lectures, interviews, essays, and manifestos document Brakhage's personal vision and public persona.

    The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements.

    a valuable and important book..." --The Year's Work in Critical and Cultural TheoryRepresenting Reality is the first book to offer a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history. This study advances the pioneering work of Nichols's earlier book, Ideology and the Image."[Nichols] has written a road-block of a book which reconfigures the debate on the documentary at a new level of sophistication and complexity which can only be ignored at the risk of ignoring the whole area of documentary film." --Sight and Sound..". the most important book on documentary film yet published." --Canadian Journal of Film Studies

    Each chapter focuses on a director's celebrated debut and tells the inside story of the film's creation. Along the way, every aspect of the movie industry is explored-from writing the script and raising the money to casting the actors and assembling the crew, from shooting and editing to selling the movie and screening it. These interviews are not only memoirs of particular movies; each one is also an emotional journey in which the director relives the pain and elation, the comedy and tragedy, of making a first feature film.

    In The Oxford History of World Cinema, an international team of film historians traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the avant-garde, and from Hollywood to Hong Kong. The Oxford History of World Cinema tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel, and they outline the evolution of national cinemas round the world--the varied and distinctive film traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities--Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman--who have had an enduring impact in popular memory and cinematic lore. With over 280 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

    This long out-of-paint autobiography provides insight into the genesis of Bunuel's films and conveys his frank opinions on dwarves, Catholicism, the Marquis de Sade, food, and smoking, not to mention his recipe for a good dry martini!

    They were the salons where many of today’s best directors first learned their craft. The art of discovery that video stores encouraged through the careful curation of clerks was the fertile, if sometimes fetid, soil from which today’s film world sprung. Video stores were also the financial engine without which the indie film movement wouldn’t have existed.In I Lost it at the Video Store, Tom Roston interviews the filmmakers—including John Sayles, Quentin Tarantino, Kevin Smith, Darren Aronofsky, David O. Russell and Allison Anders—who came of age during the reign of video rentals, and constructs a living, personal narrative of an era of cinema history which, though now gone, continues to shape film culture today.

    His best-known films, Blue; White; Red; The Double Life of Veronique; and The Decalogue, remain watershed events in lmmaking history. Author Annette Insdorf, Kieslowskis close friend and translator, offers a revealing portrait of his life and monumental body of work. From the gold-bathed images of The Double Life of Veronique to the emotionally dark, visually haunting Blue, Kieslowskis films explore personal and social issues with inimitable brilliance. This paperback edition includes an updated introduction with information on the much anticipated release of Heaven (March 2002) which Kieslowski wrote and planned to film, before he died unexpectedly in March 1996.

    From Walter to John to Anjelica, there are three generations of Oscar winners in the remarkable Huston family.

    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.

    For the first time in 25 years, the cast and crew of all five films in this franchise reveal the stories behind the movies, offering their own opinions and details about life on the sets of some of the most fraught productions in cinema history. Supported by dozens of cast and crew members, The Complete History of the Return of the Living Dead features hundreds of previously unreleased behind-the-scenes photographs and exclusive artwork. This eye-catching, comprehensive book is the ultimate celebration of The Return of the Living Dead franchise and all those who contributed to its creation.