Sarris's The American Cinema, the bible of auteur studies, is a history of American film in the form of a lively guide to the work of two hundred film directors, from Griffith, Chaplin, and von Sternberg to Mike Nichols, Stanley Kubrick, and Jerry Lewis. In addition, the book includes a chronology of the most important American films, an alphabetical list of over 6000 films with their directors and years of release, and the seminal essays "Toward a Theory of Film History" and "The Auteur Theory Revisited." Over twenty-five years after its initial publication, The American Cinema remains perhaps the most influential book ever written on the subject.

    Two-time Academy Award-winning screenwriter and the bestselling author of Marathon Man, Tinsel, Boys and Girls Together, and other novels, Goldman now takes you into Hollywood's inner sanctums...on and behind the scenes for Butch Cassidy and the Sundance Kid, All the President's Men, and other films...into the plush offices of Hollywood producers...into the working lives of acting greats such as Redford, Olivier, Newman, and Hoffman...and into his own professional experiences and creative thought processes in the crafting of screenplays. You get a firsthand look at why and how films get made and what elements make a good screenplay. Says columnist Liz Smith, "You'll be fascinated.

    "I heartily recommend (this book) for beginners and pros alike."--Steven Bochco.

    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.

    Following the success of Isms: Understanding Art and Isms: Understanding Architectural Styles, this guide sorts the great classic films and directors according to the significant movements that have shaped the development of cinema. Beginning with the early silent era, it spans the entire range of movie history up to the present wave of indie films and the growing fascination with international cinema. Each spread is devoted to a distinct movement and explains when it first emerged, the principal directors, themes, and representative films, and is illustrated with film stills, posters, and photos. Important international cinematic breakthroughs are also highlighted, as well as the careers of international auteurs like Kurosawa, Fellini, and Almodóvar. From prewar Expressionism to twenty-first-century Dystopianism, Film Isms… offers an engaging, new way of understanding movie history.

    As a result, writers will dig deep within and explore their own values and worldviews in order to create an effective story. Writers will come away with an extremely precise set of tools to work with--specific, useful techniques to make the audience care about their characters, and that make their characters grow in meaningful ways. They will construct a surprising plot that is unique to their particular concept, and they will learn how to express a moral vision that can genuinely move an audience.The foundations of story that Truby lays out are so fundamental they are applicable--and essential--to all writers, from novelists and short-story writers to journalists, memoirists, and writers of narrative non-fiction.

    In the late 1990s and early 2000s, the landscape of television began an unprecedented transformation. While the networks continued to chase the lowest common denominator, a wave of new shows, first on premium cable channels like HBO and then basic cable networks like FX and AMC, dramatically stretched television’s narrative inventiveness, emotional resonance, and artistic ambition. No longer necessarily concerned with creating always-likable characters, plots that wrapped up neatly every episode, or subjects that were deemed safe and appropriate, shows such as The Wire, The Sopranos, Mad Men, Deadwood, The Shield, and more tackled issues of life and death, love and sexuality, addiction, race, violence, and existential boredom. Just as the Big Novel had in the 1960s and the subversive films of New Hollywood had in 1970s, television shows became the place to go to see stories of the triumph and betrayals of the American Dream at the beginning of the twenty-first century. This revolution happened at the hands of a new breed of auteur: the all-powerful writer-show runner. These were men nearly as complicated, idiosyncratic, and “difficult” as the conflicted protagonists that defined the genre. Given the chance to make art in a maligned medium, they fell upon the opportunity with unchecked ambition. Combining deep reportage with cultural analysis and historical context, Brett Martin recounts the rise and inner workings of a genre that represents not only a new golden age for TV but also a cultural watershed. Difficult Men features extensive interviews with all the major players, including David Chase (The Sopranos), David Simon and Ed Burns (The Wire), Matthew Weiner and Jon Hamm (Mad Men), David Milch (NYPD Blue, Deadwood), and Alan Ball (Six Feet Under), in addition to dozens of other writers, directors, studio executives, actors, production assistants, makeup artists, script supervisors, and so on. Martin takes us behind the scenes of our favorite shows, delivering never-before-heard story after story and revealing how cable TV has distinguished itself dramatically from the networks, emerging from the shadow of film to become a truly significant and influential part of our culture.

    Designed for students in any field that makes use of visual evidence and persuasive strategies, from the law to anthropology, and from history to journalism, this book spells out the distinguishing qualities of documentary. A wide-ranging and freewheeling form of filmmaking, documentary has not yet received a proper, written introduction to its public, or its future makers.Introduction to Documentary is not organized as a history of the form although its examples span a century of filmmaking. Instead, this book offers suggestive answers to basic issues that have stood at the center of all debate on documentary from its very beginnings to today. Each chapter takes up a distinct question from How did documentary filmmaking get started? to Why are ethical issues central to documentary? These questions move through issues of ethics, form, modes, voice, history and politics, among others. A final chapter addresses the question of how to write about documentary in a clear, convincing manner. Introduction to Documentary provides the foundational key to further explorations in this exceptionally vital area of filmmaking today.

    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.

    Included is a profile of Arthur Penn's career followed by a new comparative study of Oliver Stone, who mirrors Penn's practice of drawing his films out of historical and ideological currents. Placing the films of Penn, Stone, Kubrick, Scorsese, Spielberg, and Altman in an ideological perspective, Kolker both illuminates their relationship to one another and to larger currents in our culture, and emphasizes the statements their films make about American society and culture. This edition includes a new preface, a requiem for Stanley Kubrick, updated filmography, and 48 images from various films discussed through the text.

    Hundreds of film stills, many in color, plus dialogue, quotations, and other sources add to and illustrate each chapter's overriding theme.

    Many of us love to tell them, and even dream of making a living from it too. But what is a story? Hundreds of books about screenwriting and storytelling have been written, but none of them ask 'Why?' Why do we tell stories? And why do all stories function in an eerily similar way? John Yorke has been telling stories almost his entire adult life, and the more he has done it, the more he has asked himself why? Every great thinker or writer has their theories: Aristotle, David Hare, Lajos Egri, Robert McKee, Gustav Freytag, David Mamet, Christopher Booker, Charlie Kaufman, William Goldman and Aaron Sorkin - all have offered insightful and illuminating answers. Here, John Yorke draws on these figures and more as he takes us on a historical, philosophical, scientific and psychological journey to the heart of all storytelling.What he reveals is that there truly is a unifying shape to narrative - one that echoes the great fairytale journey into the woods, and one, like any great art, that comes from deep within. Much more than a 'how to write' book, Into the Woods is an exploration of this fundamental structure underneath all narrative forms, from film and television to theatre and novel-writing. With astonishing detail and wisdom, John Yorke explains to us a phenomenon that, whether it is as a simple fable, or a big-budget 3D blockbuster, most of us experience almost every day of our lives.

    Guided by a personal canon of great films, Rosenbaum sees, in the ongoing hostility toward the idea of a canon shared by many within the field of film studies, a missed opportunity both to shape the discussion about cinema and to help inform and guide casual and serious filmgoers alike.In Essential Cinema, Rosenbaum forcefully argues that canons of great films are more necessary than ever, given that film culture today is dominated by advertising executives, sixty-second film reviewers, and other players in the Hollywood publicity machine who champion mediocre films at the expense of genuinely imaginative and challenging works. He proposes specific definitions of excellence in film art through the creation a personal canon of both well-known and obscure movies from around the world and suggests ways in which other canons might be similarly constructed.Essential Cinema offers in-depth assessments of an astonishing range of films: established classics such as Rear Window, M, and Greed; ambitious but flawed works like The Thin Red Line and Breaking the Waves; eccentric masterpieces from around the world, including Irma Vep and Archangel; and recent films that have bitterly divided critics and viewers, among them Eyes Wide Shut and A.I. He also explores the careers of such diverse filmmakers as Robert Altman, Raúl Ruiz, Frank Tashlin, Elaine May, Sam Fuller, Terrence Davies, Edward Yang, Hou Hsiao-hsien, and Orson Welles. In conclusion, Rosenbaum offers his own film canon of 1,000 key works from the beginning of cinema to the present day. A cogent and provocative argument about the art of film, Essential Cinema is also a fiercely independent reference book of must-see movies for film lovers everywhere.

    The rest is breathtaking, record-breaking box-office history. Now comes an all-new Indiana Jones feature film: Indiana Jones and the Kingdom of the Crystal Skull. Here’s your chance to go on location for an up-close, all-access tour of the year’s most eagerly anticipated blockbuster, as well as the classics. The Complete Making of Indiana Jones is a crash course in movie magic-making–showcasing the masters of the craft and served up by veteran entertainment chroniclers J. W. Rinzler and Laurent Bouzereau. Inside you’ll find:• exclusive on-set interviews with the entire cast and crew of Indiana Jones and the Kingdom of the Crystal Skull, including Harrison Ford, Shia LaBeouf, Cate Blanchett, Ray Winstone, and John Hurt–plus director Steven Spielberg, executive producer George Lucas, screenwriter David Koepp, and the incredible production team that built some of the most fantastic sets ever.• hundreds of full-color images–from storyboards, concept paintings, and set design schematics to still photos from all four films with candid action shots of the productions in progress• an in-depth chronicle of the making of the first three Indiana Jones movies–Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade–including transcripts of the original concept meetings, cast and crew anecdotes, production photos, and information on scenes that were cut from the final films• never-before-seen artwork and archival gems from the Lucasfilm Archives• and much more!Don’t miss the thrilling new movie or this definitive making-of opus. It’s as essential to fans as that trusty bullwhip is to Indy!

    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.