This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.

    It wouldn't. In fact, it's actually pretty insulting that this so-called 'Community' hasn't done more to acknowledge (or even begin to repay) its undoubted debt to me.Richard Ayoade is many things - film director (of Submarine and the forthcoming The Double), comedy actor (The IT Crowd), comedian and TV presenter (Gadget Man). Ayoade on Ayoade captures the director in his own words: pompous, vain, angry and very, very funny.

    This books reveals the secrets behind each shot’s success, so it can be adapted to the director’s individual scenes.

    Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

    Here, the author argues that the film is both a quantum leap and a logical step in the director's career, and it's a film that speaks powerfully of contemporary concerns.

    They will learn classic visual storytelling techniques such as conveying meaning with images and directing the viewer's eye. Glebas also teaches how to spot potential problems before they cost time and money, and he offers creative solutions on how to solve them.

    From Sergei Eisenstein, a legendary pioneer in filmmaking and director of Battleship Potemkin, Film Form collects twelve essays written between 1928 and 1945 that demonstrate key points in the development of his film theory and in particular his analysis of the sound-film medium."By turns savagely polemical and whimsically humorous...Eisenstein's last book, like all his writings, is on fire with imagination...Jay Leyda, well-known authority on Eisenstein's work, has done an excellently thorough job of editing and translating."??—??Saturday Review

    This down-and-dirty romp through Hollywood in the 1970s introduces the young filmmakers--Coppola, Scorsese, Lucas, Spielberg, Altman, and Beatty--and recreates an era that transformed American culture forever.

    As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

    Step right up and get your fill of 80s nostalgia with the movie bible to end all movie bibles. We’ve diligently compiled a list of 140 of the most influential movies of the 1980s that’s sure to please popcorn gobblers and highbrow chin-strokers alike. The 80s was a time for adventurers, an era of excess, pomp, and bravado. In the era when mullets and shoulder pads were all the rage, moviegoers got their kicks from flicks as wide-ranging as Blade Runner, When Harry Met Sally, and Blue Velvet. Without a doubt, sci-fi was the most important genre of the decade, with non-human characters like E.T. winning the hearts of millions while the slimy creatures from Aliens became the stuff of nightmares and movies like Ghostbusters and Back to the Future fused comedy and sci-fi to the delight of audiences everywhere. In fact, the 1980s saw the invention of a new reality, a movieworld so convincingly real - no matter now far-fetched - that spectators could not help but abandon hemselves to it. Now that’s entertainment, folks.

    He examines her Dickensian childhood, her violent first marriage, her painful estrangement from her son, and the troubled sexual dynamics of her marriage to Robert Taylor.

    If you're a line producer, production manager, production supervisor, assistant director or production coordinator--the book has everything you'll need (including all the forms, contracts, releases and checklists) to set up and run a production--from finding a production office to turning over delivery elements. Even if you know what you're doing, you will be thrilled to find everything you need in one place. If you're not already working in film production, but think you'd like to be, read the book -- and then decide. If you choose to pursue this career path, you'll know what to expect, you'll be prepared, and you'll be ten steps ahead of everyone else just starting out.New topics and information in the fourth edition include: * Low-budget independent films, including documentaries and shorts* Information specific to television production and commercials* The industry's commitment to go green and how to do it* Coverage of new travel and shipping regulations* Updated information on scheduling, budgeting, deal memos, music clearances, communications, digital production, and new forms throughout*Supplementary material and sample forms available at www.focalpress.com/9780240811505

    (“Every single frame,” declared Cate Blanchett, “is burned into my retina.”) As Dyer guides us into the zone of Tarkovsky’s imagination, we realize that the film is only the entry point for a radically original investigation of the enduring questions of life, faith, and how to live. In a narrative that gives free rein to the brilliance of Dyer’s distinctive voice—acute observation, melancholy, comedy, lyricism, and occasional ill-temper—Zona takes us on a wonderfully unpredictable journey in which we try to fathom, and realize, our deepest wishes.Zona is one of the most unusual books ever written about film, and about how art—whether a film by a Russian director or a book by one of our most gifted contemporary writers—can shape the way we see the world and how we make our way through it.

    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.

     Much has been written about the storied New Hollywood of the 1970s, but at the same time as Martin Scorsese, Steven Spielberg, and Francis Ford Coppola were making their first classic movies, a parallel universe of directors gave birth to the modern horror film-aggressive, raw, and utterly original. Based on unprecedented access to the genre's major players, The New York Times's critic Jason Zinoman's Shock Value delivers the first definitive account of horror's golden age. By the late 1960s, horror was stuck in the past, confined mostly to drive-in theaters and exploitation houses, and shunned by critics. Shock Value tells the unlikely story of how the much-disparaged horror film became an ambitious art form while also conquering the multiplex. Directors such as Wes Craven, Roman Polanski, John Carpenter, and Brian De Palma- counterculture types operating largely outside the confines of Hollywood-revolutionized the genre, exploding taboos and bringing a gritty aesthetic, confrontational style, and political edge to horror. Zinoman recounts how these directors produced such classics as Rosemary's Baby, Carrie, The Texas Chainsaw Massacre, and Halloween, creating a template for horror that has been imitated relentlessly but whose originality has rarely been matched. This new kind of film dispensed with the old vampires and werewolves and instead assaulted audiences with portraits of serial killers, the dark side of suburbia, and a brand of nihilistic violence that had never been seen before. Shock Value tells the improbable stories behind the making of these movies, which were often directed by obsessive and insecure young men working on shoestring budgets, were funded by sketchy investors, and starred porn stars. But once The Exorcist became the highest grossing film in America, Hollywood took notice. The classic horror films of the 1970s have now spawned a billion-dollar industry, but they have also penetrated deep into the American consciousness. Quite literally, Zinoman reveals, these movies have taught us what to be afraid of. Drawing on interviews with hundreds of the most important artists in horror, Shock Value is an enthralling and personality-driven account of an overlooked but hugely influential golden age in American film.