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.

    His career boasts an incredible array of projects from designing cars to drafting architectural renderings, but he is most famous for his work as a concept artist on some of the most visually arresting films in the history of cinema. Since working on Star Trek: The Motion Picture in 1978 as a production illustrator Syd Mead has always aimed to render “reality ahead of schedule,” creating evocative designs that marry believable content with a neofuturistic form. It is this ability to predict technological potential that has helped Mead create such a distinctive and influential aesthetic. From his work with Ridley Scott on Blade Runner, to his striking designs for the light cycles in Tron, to his imposing concept art for the U.S.S. Sulaco in James Cameron’s Aliens, Syd Mead has played a pivotal role in shaping cinema’s vision of the future. The Movie Art of Syd Mead: Visual Futurist represents the most extensive collection of Mead’s visionary work ever printed, compiling hundreds of images, sketches and concept arts from a career spanning almost 40 years, many of which have never been seen in print before. Each entry provides a unique insight into the processes involved in Mead’s practice as well as illuminating the behind-the-scenes work involved in creating a fully realized, cinematic depiction of the future. With such a plethora of images from the many genre-defining films Mead has worked on, this is essential reading for film fans, artists and futurologists alike.

    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!

    In the perfect companion piece to his first book, Snyder delivers even more insider's information gleaned from a 20-year track record as ?one of Hollywood's most successful spec screenwriters, ? giving you the clues to write your movie. Designed for screenwriters, novelists, and movie fans, this book gives readers the key breakdowns of the 50 most instructional movies from the past 30 years. From M*A*S*H to Crash, from Alien to Saw, from 10 to Eternal Sunshine of the Spotless Mind, Snyder reveals how screenwriters who came before you tackled the same challenges you are facing with the film you want to write ? or the one you are currently working on.

    Drawing on 40 years of experience on movies ranging from Long Day's Journey Into Night to The Verdict, Lumet explains the painstaking labor that results in two hours of screen magic.

    Made specifically for the small screen, within the tight constraints of broadcasting standards, what these humble movies lacked in budget and star appeal, they made up for in other ways. Often they served as an introduction to genre films, particularly horror, mirroring their theatrical counterparts with a focus on sinister cults, women in prison, haunted houses and even animals in revolt. They were also a place to address serious contemporary issues - drugs, prostitution, sexual violence and justice -albeit in a cosy domestic environment. Production of telefilms continues to this day, but their significance within the history of mass media remains under-discussed. Are You in the House Alone? seeks to address this imbalance in a series of reviews and essays by fans and critics. It looks at many of the films, the networks and names behind them, and also specific genres - everything from Stephen King adaptations to superheroes to true-life dramas. So, kickback and crack open the TV guide once more for the event that is the Movie of the Week!

    This collection of profiles and interviews turns the spotlight on those unsung heroes, whose faces were often better known than their names. Maltin’s engaging conversations with such notables as Billy Gilbert, Gale Sondergaard, Hans Conried and Una Merkel evoke a bygone era as we see what life was like for these versatile players. Looking for anecdotes about W.C. Fields or Clark Gable? This book is for you. You’ll also learn about Bess Flowers, “the queen of the dress extras” and Rex Ingram, the black actor whose imposing presence eclipsed the stereotyping of the period. This well-illustrated e-book edition features a brand-new introduction by Leonard Maltin.

    250-258) and index.

    Comedy in Three Men and a Baby, Hannah and Her Sisters, Ghostbusters, and Back to the Future; all a teenager needs to know in Pretty in Pink, Ferris Bueller’s Day Off, Say Anything, The Breakfast Club, and Mystic Pizza; the ultimate in action from Top Gun, Die Hard, Beverly Hills Cop, and Indiana Jones and the Temple of Doom; love and sex in 9 1/2 Weeks, Splash, About Last Night, The Big Chill, and Bull Durham; and family fun in The Little Mermaid, ET, Big, Parenthood, and Lean On Me.In Life Moves Pretty Fast, Hadley puts her obsessive movie geekery to good use, detailing the decade’s key players, genres, and tropes. She looks back on a cinematic world in which bankers are invariably evil, where children are always wiser than adults, where science is embraced with an intense enthusiasm, and the future viewed with giddy excitement. And, she considers how the changes between movies then and movies today say so much about society’s changing expectations of women, young people, and art—and explains why Pretty in Pink should be put on school syllabuses immediately.From how John Hughes discovered Molly Ringwald, to how the friendship between Dan Aykroyd and John Belushi influenced the evolution of comedy, and how Eddie Murphy made America believe that race can be transcended, this is a “highly personal, witty love letter to eighties movies, but also an intellectually vigorous, well-researched take on the changing times of the film industry” (The Guardian).

    The newest screenplay from the Oscar®-nominated writers of Election and About Schmidt, Sideways is the tale of two men's adventure in California wine country.Based on Rex Pickett's acclaimed first novel, Sideways tells the story of Miles (Paul Giamatti), a failed novelist, and his soon-to-be-married friend Jack (Thomas Haden Church), a washed-up actor.To salute the remains of their youth, the two men take one last road trip in the week before Jack's wedding.A serious wine enthusiast, Miles is determined to educate his friend on the region's beloved Pinot Noir wines before the week is out.Jack indulges his best friend's passion for the grape but is mainly interested in living his last week of bachelorhood to the hilt.Trouble ensues with wine and women (Virginia Madsen and Sandra Oh), and the duo comes to some profound realizations as they come to terms with maturity.

    Bergman's career spanned 40 years and produced over 50 films, many of which are considered classics. Over 200 photos.

    His company, HandMade films, went on to make some of the best British films of the 80s (Withnail and I, Time Bandits and Mona Lisa among them), but then things started to go wrong... This is the incredible and often hilarious insiders’ story of what happened...

    So he whisks away lovely Poppy O’Brien, determined to convince her to leave him alone. But what he gets is so much more than he ever bargained for…Ultimate CowboyRancher Brody Bloodworth has spent years blaming himself for his brother’s disappearance. If he hadn’t snuck off to be with Julie Whitehead, everything would have been different—and he wouldn’t have pushed her away. Now Julie is back, an FBI agent with a solid lead on his brother. Before long he finds himself unable to keep his hands off her. As he prepares for a showdown with the ruthless kidnappers, Brody knows what’s at stake if he wins. And just how much he’ll lose if he doesn’t….

    A talented young student goes missing on the marsh. Nikki and Joseph find themselves joining forces with a master criminal to save her. They need to look behind the masks, but when they do, they find something more sinister than they ever expected.Book 2: SHADOW OVER THE FENSA man is found executed on a piece of wasteland. The cold-blooded murder triggers terrible memories for Detective Joseph Easter. Just when things seemed to be going better, he realizes that the nightmare is coming back, threatening his career, his sanity, and maybe even his life.Book 3: HUNTED ON THE FENSA vicious criminal is targeting Detective Nikki Galena and her team. One by one he will hunt them down and destroy their lives — unless Nikki can stop him first. Can she save her team and herself from her most determined adversary yet?Book 4: KILLER ON THE FENSDetective Nikki Galena’s dying father has one final request: “Find Eve.” But tracing the mysterious Eve is a challenge that will stretch DI Galena to the limit. Meanwhile a dead drug dealer is found on an abandoned airfield that the locals say is haunted. The trail of both mysteries will lead to the most shocking discovery of Nikki’s career and put her whole team in mortal danger.Book 5: STALKER ON THE FENSDI Nikki Galena’s friend Helen Brook is involved in a serious accident where she is trapped in a collapsed cellar. Weeks on, Helen is still getting flashbacks to a man she says was down there with her and who confessed to a murder.No trace of this man can be found. Then Helen tells Nikki that someone is watching her.Perfect for fans of LJ Ross, Peter May, JD Kirk, Angela Marsons, JM Dalgliesh, Elly Griffiths or Ann Cleeves.

    In Filmish, Ross's cartoon alter-ego guides readers through the annals of cinematic history, introducing us to some of the strange and fascinating concepts at work in the movies. Each chapter focuses on a particular theme - the body, architecture, language - and explores an eclectic mix of cinematic triumphs, from A Trip to the Moon to Aliens. Sitting within the tradition of bestselling non-fiction graphic novels like Scott McClouds Understanding Comics and the Introducing...series, Filmish tackles serious issues - sexuality, race, censorship, propaganda - with authority and wit, throwing new light on some of the greatest films ever made.