Robert Bresson makes some quite radical distinctions between what he terms "cinematography" and something quite different: "cinema"—which is for him nothing but an attempt to photograph theater and use it for the screen.Director of The Trial of Joan of Arc, Pickpocket, A Prisoner Escapes, Diary of a Country Priest, Money, and many other classic films, Robert Bresson is, quite simply, one of the most brilliant cinematographers in the history of film.

    The Cenobites soon returned, and their leader, the chilling Pinhead (played by Doug Bradley), became an worldwide icon.The Hellraiser Chronicles is a beautifully produced, full colour photographic companion to Hellraiser, Hellbound: Hellraiser II and Hellraiser III: Hell on Earth. It features stunning, specially shot portrait photography unavailable elsewhere, plus script extracts, design sketches, behind-the-scenes stills and interviews. The only official Hellraiser book, it is a must for all fans of the series.Time to play"

    Its fans tend to be fanatical, congregating at 'Lebowski Conventions' in bowling alleys across American and Britain, and even dressing up as characters from the film. Among the funniest films of the last twenty-five years, and one of the high-water marks of 1990s genre recycling and pastiche, The Big Lebowski is also littered with playful and subversive references to film history, especially to Raymond Chandler's world of hardboiled detective classics and the world of film noir. The Big Lebowski is the rarest kind of film, a comedy whose jokes become funnier with repetition. The same goes for its multitudinous jukebox-like references to other films, many of which open up vistas for intertextual interpretation. Underneath the film's breakneck pacing and foul-mouthed characters, a farcical collection of flakes, losers, and phonies, is a surprisingly humane account of what fools we mortals be. It is one of the oddest buddy films ever made, with extraordinary performances by Jeff Bridges and John Goodman. In this study, The Big Lebowski is set into the context of 1990s Hollywood cinema, anatomised for its witty relationship with the classics which it satirises, and discussed in terms of its key theme: the hopeless flailing of ridiculously unmanly men in the world of discombobulated, mixed-up, or put-on identities that is Los Angeles.

    Dick's brilliant and troubling SF novel Do Androids Dream of Electric Sheep, still rules as the most visually dense, thematically challenging, and influential SF film ever made. Future Noir is the story of that triumph.The making of Blade Runner was a seven-year odyssey that would test the stamina and the imagination of writers, producers, special effects wizards, and the most innovative art directors and set designers in the industry.A fascinating look at the ever-shifting interface between commerce and the art that is modern Hollywood, Future Noir is the intense, intimate, anything-but-glamerous inside account of how the work of SF's most uncompromising author was transformed into a critical sensation, a commercial success, and a cult classic.

    To celebrate these films and their cultural heritage, Roger Moore has written a book that features all the Bond movies, along with a wonderfully witty account of his own involvement in them.  From the girls to the villains, the cars to the cocktails, the gadgets, locations and everything else, this beautiful book is illustrated with hundreds of iconic images from all the films plus many previously unseen photos from the Bond archive. This is the ultimate James Bond book, written by the ultimate insider, with all the affection and good humor he brought to the role.  It is the perfect gift for all fans of these much loved films.

    The Great Movies collects one hundred of these essays, each one of them a gem of critical appreciation and an amalgam of love, analysis, and history that will send readers back to that film with a fresh set of eyes and renewed enthusiasm–or perhaps to an avid first-time viewing. Ebert’s selections range widely across genres, periods, and nationalities, and from the highest achievements in film art to justly beloved and wildly successful popular entertainments. Roger Ebert manages in these essays to combine a truly populist appreciation for our most important form of popular art with a scholar’s erudition and depth of knowledge and a sure aesthetic sense. Wonderfully enhanced by stills selected by Mary Corliss, film curator at the Museum of Modern Art, The Great Movies is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again.The Great Movies includes: All About Eve • Bonnie and Clyde • Casablanca • Citizen Kane • The Godfather • Jaws • La Dolce Vita • Metropolis • On the Waterfront • Psycho • The Seventh Seal • Sweet Smell of Success • Taxi Driver • The Third Man • The Wizard of Oz • and eighty-five more films.From the Hardcover edition.

    For the first time, Live Fast, Die Young tells the complete story of the explosive making of Rebel, a film that has rocked every generation since its release. Set against a backdrop of the Atomic Age and an old Hollywood studio system on the verge of collapse, it vividly evokes the cataclysmic, immensely influential meeting of four of Hollywood's most passionate artists. When James Dean, Natalie Wood, Sal Mineo, and director Nicholas Ray converged, each was at a crucial point in his or her career. The young actors were grappling with fame, their burgeoning sexuality, and increasingly reckless behavior. As Ray engaged his cast in physical melees and psychosexual seductions of startling intensity, the on- and off-set relationships between his ambitious young actors ignited, sending a shock wave through the film. Through interviews with the surviving members of the cast and crew and firsthand access to both personal and studio archives, Lawrence Frascella and Al Weisel reveal Rebel's true drama -- the director's affair with sixteen-year-old Wood, his tempestuous "spiritual marriage" with Dean, and his role in awakening the latent homosexuality of Mineo, who would become the first gay teenager to appear on film. Complete with thirty photographs, including ten never-before-seen photos by famed Dean photographer Dennis Stock, Live Fast, Die Young tells the absorbing inside story of an unforgettable and absolutely essential American film -- a story that is, in many ways, as provocative as the film itself.

    In addition to the new “musts,” Thomson has added key figures from film history–lively anatomies of Graham Greene, Eddie Cantor, Pauline Kael, Abbott and Costello, Noël Coward, Hoagy Carmichael, Dorothy Gish, Rin Tin Tin, and more. Here is a great, rare book, one that encompasses the chaos of art, entertainment, money, vulgarity, and nonsense that we call the movies. Personal, opinionated, funny, daring, provocative, and passionate, it is the one book that every filmmaker and film buff must own. Time Out named it one of the ten best books of the 1990s. Gavin Lambert recognized it as “a work of imagination in its own right.” Now better than ever–a masterwork by the man playwright David Hare called “the most stimulating and thoughtful film critic now writing.”

    Shot on a shoe-string budget of $175,000 in black-and-white 16mm, the film was made with Spike Lee's persistence and talent plus the help of family and friends. It grossed $8 million at the box office and proved to be a major hit with both critics and audiences. Now Spike Lee reveals how he did it, mapping out the entire creative and production processes-from early notebook jottings to film festival awards. Spike Lee's Gotta Have It is a unique document in film literature - it's funny, absorbing, and fresh as the hit film itself.

    Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."

    20,000 first printing. Tour.

    Rashomon, which won both the Venice Film Festival's grand prize and an Academy Award for best foreign-language film, helped ignite Western interest in the Japanese cinema. Seven Samurai and Yojimbo remain enormously popular both in Japan and abroad. In this newly revised and expanded edition of his study of Kurosawa's films, Stephen Prince provides two new chapters that examine Kurosawa's remaining films, placing him in the context of cinema history. Prince also discusses how Kurosawa furnished a template for some well-known Hollywood directors, including Martin Scorsese, Steven Spielberg, and George Lucas.Providing a new and comprehensive look at this master filmmaker, The Warrior's Camera probes the complex visual structure of Kurosawa's work. The book shows how Kurosawa attempted to symbolize on film a course of national development for post-war Japan, and it traces the ways that he tied his social visions to a dynamic system of visual and narrative forms. The author analyzes Kurosawa's entire career and places the films in context by drawing on the director's autobiography--a fascinating work that presents Kurosawa as a Kurosawa character and the story of his life as the kind of spiritual odyssey witnessed so often in his films. After examining the development of Kurosawa's visual style in his early work, The Warrior's Camera explains how he used this style in subsequent films to forge a politically committed model of filmmaking. It then demonstrates how the collapse of Kurosawa's efforts to participate as a filmmaker in the tasks of social reconstruction led to the very different cinematic style evident in his most recent films, works of pessimism that view the world as resistant to change.

    A hefty compilation of essays (both pictorial and prose), notes, concept sketches and interviews by (and with) Hayao Miyazaki. Arguably the most respected animation director in the world, Miyazaki is the genius behind "Howl's Moving Castle," Princess Mononoke" and the Academy Award-winning film, "Spirited Away."

    Some howled in protest at this criticism of their hero, but they failed to see that Mr. Schickel's book acknowledged Disney's profound influence on American popular culture. The Disney Version takes us from Walt's wandering youth through the desperate gamble of opening his own animation studio, his daring decision to crash Hollywood, the sudden and inspired invention of Mickey Mouse - and on to the creation of a multimillion-dollar international entertainment empire. Throughout, Mr. Schickel asks penetrating questions about Disney's achievements and shortcomings, and about the enormous popularity of the "Disney version."

    He also made comedies, musical fantasies, detective films, and documentaries. He was an exceptionally versatile artist who won almost every major prize in cinema, including a lifetime achievement Oscar in 1992. This is the best-known biography of the film giant, based on extensive interviews with Ray himself, his actors, collaborators, and a deep knowledge of Bengali culture. This second edition contains extensive new material covering Ray's final three films made in 1989-1991, a discussion of his artistic legacy, and the most comprehensive bibliography of Ray's own writings.