If Stanley Kubrick had made only" 2001: A Space Odyssey" or "Dr. Strangelove," his cinematic legacy would have been assured. But from his first feature film, "Fear and Desire," to the posthumously released "Eyes Wide Shut," Kubrick created an accomplished body of work unique in its scope, diversity, and artistry, and by turns both lauded and controversial.In this newly revised and definitive edition of his now classic study, film critic Michel Ciment provides an insightful examination of Kubrick's thirteen films--including such favorites as "Lolita, A Clockwork Orange," and "Full Metal Jacket-"-alongside an assemblage of more than four hundred photographs that form a complementary photo essay. Rounding out this unique work are a short biography of Kubrick; interviews with the director, as well as cast and crew members, including Malcolm McDowell, Shelley Duvall, and Jack Nicholson; and a detailed filmography and bibliography. Meshed with masterful integrity, the book's text and illustrations pay homage to one of the most visionary, original, and demanding filmmakers of our time.

    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.

    2001 is a nonverbal experience?. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.? The philosophy behind Part I borrows from this line of thinking: from the opening sequence of Killer's Kiss to the final frames of Eyes Wide Shut, Kubrick's complete films will be presented chronologically and wordlessly via frame enlargements. A completely nonverbal experience. Part 2: The Creative Process Divided into chapters chronologically by film, Part 2 brings to life the creative process of Kubrick's filmmaking by presenting a remarkable collection of material from his archives, including photographs, props, posters, artwork, set designs, sketches, correspondence, documents, screenplays, drafts, notes, and shooting schedules. Accompanying the visual material are essays by noted Kubrick scholars, articles written by and about Kubrick, and a selection of Kubrick's best interviews. Special features ? Part 1 features 800 film stills scanned directly from the original prints and interpositives ? Part 2 presents about 800 items from the archives, most of which have never been published before ? essays by Kubrick scholars Gene D. Phillips, Michel Ciment, and Rodney Hill ? selected articles and essays, including interviews with and essays by Stanley Kubrick ? illustrated Kubrickchronology ? audio CD featuring a 70-minute 1966 interview of Stanley Kubrick by Jeremy Bernstein **BONUS** ? books in the first print run will each include a twelve-frame film strip from a 70mm print of 2001: A Space Odyssey owned by Stanley Kubrick Made in cooperation with Jan Harlan, Christiane Kubrick, and the Stanley Kubrick Estate. The editor: Alison Castle received a BA in philosophy from Columbia University and an MA in photography and film from New York University (NYU/International Center of Photography masters program). Castle also edited TASCHEN's Some Like it Hot. She lives in Paris, home of the world's best cinemas.

    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.

    A striking, design-led reference book, A-Z Great Film Directors features Andy Tuohy's portraits of 52 directors significant for their contribution to cinema including kings of world cinema Wong Kar-Wai and Akira Kurosawa, arthouse pioneers Fritz Lang and David Lynch as well as the often under-appreciated female directors Kathryn Bigelow and Jane Campion.With text by film journalist Matt Glasby, each director's entry will also have a summary of the essential things you need to know about them, why they're important, a list of their must-see films, and a surprising fact or two about them, as well as images of their key films throughout.So whether you're already a film afficionado, or looking for a helpful cheat to pass convincingly as an arthouse fan, you'll love this guide to international directors, past and present.

    He explains that the actor, instead of starting with what is real and trying to portray that on screen, should work with the realities of the shoot itself, and then work out how to make it all appear realistic.Tucker has created and developed several screen acting of a courses, and this book is an extension and explanation of a lifetime of work in the field. Containing over fifty acting exercises, this book leads the reader step-by-step through the elements of effective screen acting.Refreshing in its informal approach and full of instructive anecdotes, Secrets of Screen Acting is an invaluable guide for those who wish to master the art of acting on-screen.

    Now you can share in the Master of Suspense's inspiration and development -- his entire creative process -- in Hitchcock's Notebooks.With the complete cooperation of the Hitchcock estate and access to the director's notebooks, journals, and archives, Dan Auiler takes you from the very beginnings of story creation to the master's final touches during post-production and publicity. Actual production notes from Hitchcock's masterpieces join detailed interviews with key production personnel, including writers, actors and actresses, and Hitchcock's personal assistant of more than thirty years.Mirroring the director's working methods to give you the actual feel of his process, and highlighted by nearly nearly one hundred photographs and illustrations, this is the definitive guide into the mind of a cinematic legend.

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.

    Wong Kar Wai is known for his romantic and stylish films that explore—in saturated, cinematic scenes—themes of love, longing, and the burden of memory. His style reveals a fascination with mood and texture, and a sense of place figures prominently. In this volume, the first on his entire body of work, Wong Kar Wai and writer John Powers explore Wong’s complete oeuvre in the locations of some of his most famous scenes. The book is structured as six conversations between Powers and Wong (each in a different locale), including the restaurant where he shot In the Mood for Love and the snack bar where he shot Chungking Express. Discussing each of Wong’s eleven films, the conversations also explore Wong’s trademark themes of time, nostalgia, and beauty, and their roots in his personal life. This first book by Wong Kar Wai, lavishly illustrated with more than 250 photographs and film stills and featuring an opening critical essay by Powers, is as evocative as walking into one of Wong’s lush films.

    Crafting Short Screenplays That Connect is the first screenwriting guide to introduce connection as an essential, although essentially overlooked, aspect of creating stories for the screen and of the screenwriting process itself. Written with clarity and humor, this book teaches the craft of writing short screenplays by guiding the student through carefully focused writing exercises of increasing length and complexity. Eight award-winning student screenplays are included for illustration and inspiration.The text is divided into three parts. Part one focuses on preparing to write by means of exercises designed to help students think more deeply about the screenwriter's purposes; their own unique vision, material and process; and finally about what screenplays are at their simplest and most profound level—a pattern of human change, created from specific moments of change—discoveries and decisions. Part two teaches students how to craft an effective pattern of human change. It guides them through the writing and re-writing of "Five (Not So Easy) Pieces"—five short screenplays of increasing length and complexity—focusing on a specific principle of dramatic technique: The Discovery, The Decision, The Boxing Match, The Improbable Connection, and The Long Short Screenplay. Part Three presents the five screenplays used throughout the book to illustrate the dramatic principles that have beendiscussed, and includes interviews with the screenwriters, a look at where they are now and what they are doing, and brief discussion of how each film evolved. * Groundbreaking book that stresses human connection as the basis of a good screenplay&151;not conflict* The only screenwriting book that includes a DVD that contains performances of the short films and screenplays that are featured in the book* Ample exercises for practice and inspiration

    . . . At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood.” Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, The Magic Lantern.More grand mosaic than linear account, Bergman’s vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood’s golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, The Magic Lantern is a window to the mind of one of our era’s great geniuses.“[Bergman] has found a way to show the soul’s landscape . . . . Many gripping revelations.”—New York Times Book Review“Joan Tate’s translation of this book has delicacy and true pitch . . . The Magic Lantern is as personal and penetrating as a Bergman film, wry, shadowy, austere.”—New Republic“[Bergman] keeps returning to his past, reassessing it, distilling its meaning, offering it to his audiences in dazzling new shapes.”—New York Times“What Bergman does relate, particularly his tangled relationships with his parents, is not only illuminating but quite moving. No ‘tell-all’ book this one, but revealing in ways that much longer and allegedly ‘franker’ books are not.”—Library Journal

    In Paul Thomas Anderson: Masterworks, Anderson’s entire career—from Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice (2014), and Phantom Thread (2017) to his music videos for Radiohead to his early short films—is examined in illustrated detail for the first time.   Anderson’s influences, his style, and the recurring themes of alienation, reinvention, ambition, and destiny that course through his movies are analyzed and supplemented by firsthand interviews with Anderson’s closest collaborators—including producer JoAnne Sellar, actor Vicky Krieps, and composer Jonny Greenwood—and illuminated by film stills, archival photos, original illustrations, and an appropriately psychedelic design aesthetic. Masterworks is a tribute to the dreamers, drifters, and evil dentists who populate his world.

    An understanding of the visual components will serve as the guide in the selection of locations, set dressing, props, wardrobe, lenses, camera positions, lighting, actor staging, and editorial choices. The Visual Story divides what is seen on screen into tangible sections: contrast and affinity, space, line and shape, tone, color, movement, and rhythm. The vocabulary as well as the insight is provided to purposefully control the given components to create the ultimate visual story. For example: know that a saturated yellow will always attract a viewer's eye first; decide to avoid abrupt editing by mastering continuum of movement; and benefit from the suggested list of films to study rhythmic control. The Visual Story shatters the wall between theory and practice, bringing these two aspects of the craft together in an essential connection for all those creating visual stories.

    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.

    He studies Lynch's talent for blending the bizarre and the normal to emphasize the odd nature of normality itself. Hollywood is often criticized for distorting reality and providing escapist fantasies, but in Lynch's movies, fantasy becomes a means through which the viewer is encouraged to build a revolutionary relationship with the world.Considering the filmmaker's entire career, McGowan examines Lynch's play with fantasy and traces the political, cultural, and existential impact of his unique style. Each chapter discusses the idea of impossibility in one of Lynch's films, including the critically acclaimed Blue Velvet and The Elephant Man; the densely plotted Lost Highway and Mulholland Drive; the cult favorite Eraserhead; and the commercially unsuccessful Dune. McGowan engages with theorists from the "golden age" of film studies (Christian Metz, Laura Mulvey, and Jean-Louis Baudry) and with the thought of Sigmund Freud, Jacques Lacan, and Hegel. By using Lynch's weirdness as a point of departure, McGowan adds a new dimension to the field of auteur studies and reveals Lynch to be the source of a new and radical conception of fantasy.