Finally a script format guide that is accurate, complete, authoritative and easy to use, written by Hollywood's foremost authority on industry standard script formats.

    Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are.Marcel Proust (1871 - 1922) is now generally viewed as the greatest French novelist and perhaps the greatest European novelist of the 20th century. He lived much of his later life as a reclusive semi-invalid in a sound-proofed flat in Paris giving himself over entirely to writing In Search of Lost Time.

    “It is guilty and should admit itself so.” The word, the flesh, and the devil are explored by this extraordinary intellect in the work of eight outstanding authors: Emily Bronte, Baudelaire, Blake, Michelet, Kafka, Proust, Genet and De Sade.Born in France in 1897, Georges Bataille was a radical philosopher, novelist, and critic whose writings continue to exert a vital influence on today's literature and thought.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    His own brilliant directing career has been marked by similarly grand ambitions, and he is unique in having premiered all of his features - from the highly styled The Element of Crime to the digital-video-originated The Idiots - at the Cannes Film Festival. Trier is a rare item in contemporary cinema, a restless innovator and polemicist, as his participation in the back-to-basics Dogme95 movement attests; and these conversations with Stig Bjorkman, author of Bergman on Bergman and Woody Allen on Woody Allen, trace the evolution of his career and thought in a manner that is both astonishingly detailed and engagingly humorous.

    By using powerful master shots and well-executed moves, directors can develop a strong style and stand out from the crowd. Most low-budget movies look low-budget because the director is forced to compromise at the last minute. Master Shots gives you so many powerful techniques that youll be able to respond, even under pressure, and create knock-out shots. Even when the clock is ticking and the light is fading, the techniques in this book can rescue your film and make every shot look like it cost a fortune. Each technique is illustrated with samples from great feature films and computer-generated diagrams for absolute clarity.

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    Taking the form of a diary, this vibrant graphic novel takes the reader from Goodfellas to The Goonies, Harry Potter to Apocalypse Now in a zany and hilarious exploration of the movies that have shaped Cavolo's life and the lives of his generation.

    In this, one of the very first celebrity memoirs, Chaplin displays all the charms, peculiarities and deeply-held beliefs that made him such an endearing and lasting character.Re-issued as part of Melville House’s Neversink Library, My Autobiography offers dedicated Chaplin fans and casual admirers alike an astonishing glimpse into the the heart and the mind of Hollywood’s original genius maverick.Take this unforgettable journey with the man George Bernard Shaw called “the only genius to come out of the movie industry” as he moves from his impoverished South London childhood to the heights of Hollywood wealth and fame; from the McCarthy-era investigations to his founding of United Artists to his “reverse migration” back to Europe, My Autobiography is a reading experience not to be missed.

    This volume gathers highlights from designs commissioned by the Criterion Collection, featuring covers, supplemental art, and never-before-seen sketches and concept art plus a gallery of every Criterion cover since the collection’s first laserdisc in 1984. From avant-garde experiments to big-budget blockbusters, cult favorites to the towering classics of world cinema, the depth and breadth of what film can be is on display in these striking images. Whether painstakingly faithful re-creations or bold re-imaginings, the stunningly diverse designs collected here offer new ways for cinephiles and design aficionados alike to engage with the world’s greatest filmmakers.

    In The Monstrous-Feminine Barbara Creed challenges this patriarchal view by arguing that the prototype of all definitions of the monstrous is the female reproductive body.With close reference to a number of classic horror films including the Alien trilogy, The Exorcist and Psycho, Creed analyses the seven `faces' of the monstrous-feminine: archaic mother, monstrous womb, vampire, witch, possessed body, monstrous mother and castrator. Her argument that man fears woman as castrator, rather than as castrated, questions not only Freudian theories of sexual difference but existing theories of spectatorship and fetishism, providing a provocative re-reading of classical and contemporary film and theoretical texts.

    Sometime partner of the eccentric Howard Hughes, drinking buddy of William Faulkner and Ernest Hemingway, an inveterate gambler and a notorious liar, Hawks was the most modern of the great masters and one of the first directors to declare his independence from the major studios. He played Svengali to Lauren Bacall, Montgomery Clift, and others, but Hawks's greatest creation may have been himself.As The Atlantic Monthly noted, "Todd McCarthy . . . has gone further than anyone else in sorting out the truths and lies of the life, the skills and the insight and the self-deceptions of the work." "A fluent biography of the great director, a frequently rotten guy but one whose artistic independence and standards of film morality never failed." -- The New York Times Book Review; "Hawks's life, until now rather an enigma, has been put into focus and made one with his art in Todd McCarthy's wise and funny Howard Hawks." -- The Wall Street Journal; "Excellent . . . a respectful, exhaustive, and appropriately smartass look at Hollywood's most versatile director." -- Newsweek.

    Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film.

    A published version has been keenly awaited ever since the lectures were given, and Berlin had always hoped to complete a book based on them. But despite extensive further work this hope was not fulfilled, and the present volume is an edited transcript of his spoken words.For Berlin, the Romantics set in motion a vast, unparalleled revolution in humanity's view of itself. They destroyed the traditional notions of objective truth and validity in ethics with incalculable, all-pervasive results. As he said of the Romantics elsewhere: The world has never been the same since, and our politics and morals have been deeply transformed by them. Certainly this has been the most radical, and indeed dramatic, not to say terrifying, change in men's outlook in modern times.In these brilliant lectures Berlin surveys the myriad attempts to define Romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how its lasting legacy permeates our own outlook. Combining the freshness and immediacy of the spoken word with Berlin's inimitable eloquence and wit, the lectures range over a cast of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, Schlegel, Novalis, Goethe, Blake, Byron, and Beethoven. Berlin argues that the ideas and attitudes held by these and other figures helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, individual self-fulfillment, and the exalted place of art. This is the record of an intellectual bravura performance--of one of the century's most influential philosophers dissecting and assessing a movement that changed the course of history.

    Silent-film comedy pioneer Mack Sennett forbade his screenwriters from writing anything down, for fear they’d get inflated ideas about themselves as creative artists. The great midcentury director John Ford was known to answer studio executives’ complaints that he was behind schedule by tearing a handful of random pages from his script and tossing them over his shoulder. And Ken Russell was so contemptuous of Paddy Chayefsky’s screenplay for Altered States that Chayefsky insisted on having his name removed from the credits.Of course, popular impressions aside, screenwriters have been central to moviemaking since the first motion picture audiences got past the sheer novelty of seeing pictures that moved at all. Soon they wanted to know: What happens next? In this truly fresh perspective on the movies, veteran Oscar-winning screenwriter Marc Norman gives us the first comprehensive history of the men and women who have answered that question, from Anita Loos, the highest-paid screenwriter of her day, to Robert Towne, Quentin Tarantino, Charlie Kaufman, and other paradigm-busting talents reimagining movies for the new century.The whole rich story is here: Herman Mankiewicz and the telegram he sent from Hollywood to his friend Ben Hecht in New York: “Millions are to be grabbed out here and your only competition is idiots.” The unlikely sojourns of F. Scott Fitzgerald and William Faulkner as Hollywood screenwriters. The imposition of the Production Code in the early 1930s and the ingenious attempts of screenwriters to outwit the censors. How the script for Casablanca, “a disaster from start to finish,” based on what James Agee judged to be “one of the world’s worst plays,” took shape in a chaotic frenzy of writing and rewriting—and how one of the most famous denouements in motion picture history wasn’t scripted until a week after the last scheduled day of shooting—because they had to end the movie somehow.Norman explores the dark days of the Hollywood blacklist that devastated and divided Hollywood’s screenwriting community. He charts the rise of the writer-director in the early 1970s with names like Coppola, Lucas, and Allen and the disaster of Michael Cimino’s Heaven’s Gate that led the studios to retake control. He offers priceless portraits of the young William Hurt, Steven Spielberg, and Steven Soderbergh. And he describes the scare of 2005 when new technologies seemed to dry up the audience for movies, and the industry—along with its screenwriters—faced the necessity of reinventing itself as it had done before in the face of sound recording, color, widescreen, television, and other technological revolutions.Impeccably researched, erudite, and filled with unforgettable stories of the too often overlooked, maligned, and abused men and women who devised the ideas that others brought to life in action and words on-screen, this is a unique and engrossing history of the quintessential art form of our time.