The director was a renegade filmmaker who'd never made a profitable picture. The producer was hired because he could stay below budget. The star had a reputation for being difficult. A formula for disaster?No, the makings of one of the greatest films of all time.The Godfather Legacy explores the fascinating behind-the-scenes intrigue and uproar during the making of all three films:The clashes between Coppola and the studio chiefs during the filming of The Godfather, the pressurized production schedule, and the project's near cancellationThe real story behind the cooperation of the Mafia in the creation of The GodfatherThe worldwide acclaim and stunning financial success following the release of The Godfather -- a triumph that set the stage for the film industry's renaissanceThe production of The Godfather Part II and the rise of Coppola, Al Pacino, and others to the loftiest heights of power in HollywoodThe creation of The Godfather Part III two decades after the original film and the completion of video projects that unified the three films for the first timeFeaturing production records, credits, reviews, and interviews with many of the principals involved, The Godfather Legacy is a rare and vivid peek into the making of three of the most compelling films in Hollywood history.

    Siegfried Kracauer--a prominent German film critic and member of Walter Benjamin's and Theodor Adorno's intellectual circle--broke new ground in exploring the connections between film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer's pioneering book, which examines German history from 1921 to 1933 in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel, has never gone out of print. Now, over half a century after its first appearance, this beautifully designed and entirely new edition reintroduces Kracauer for the twenty-first century. Film scholar Leonardo Quaresima places Kracauer in context in a critical introduction, and updates the book further with a new bibliography, index, and list of inaccuracies that crept into the first edition. This volume is a must-have for the film historian, film theorist, or cinema enthusiast.In From Caligari to Hitler, Siegfried Kracauer made a startling (and still controversial) claim: films as a popular art provide insight into the unconscious motivations and fantasies of a nation. In films of the 1920s, he traced recurring visual and narrative tropes that expressed, he argued, a fear of chaos and a desire for order, even at the price of authoritarian rule. The book has become an undisputed classic of film historiography, laying the foundations for the serious study of film.Kracauer was an important film critic in Weimar Germany. A Jew, he escaped the rise of Nazism, fleeing to Paris in 1933. Later, in anguish after Benjamin's suicide, he made his way to New York, where he remained until his death in 1966. He wrote From Caligari to Hitler while working as a "special assistant" to the curator of the Museum of Modern Art's film division. He was also on the editorial board of Bollingen Series. Despite many critiques of its attempt to link movies to historical outcomes, From Caligari to Hitler remains Kracauer's best-known and most influential book, and a seminal work in the study of film. Princeton published a revised edition of his Theory of Film: The Redemption of Physical Reality in 1997.

    This dynamic text discusses form and technique within historical and cultural contexts and makes the connection between how film techniques work and how they shape a film's many possible meanings. "The Film Experience" meets students where they are as avid movie fans and then moves them toward becoming critical viewers and writers.

    This is a biography of the ascerbic and witty film critic Pauline Kael.

    Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.

    With its pulse-pounding action, electric dialogue, and hardcore thrills, Death Proof recharges the exploitation film genre and drives it straight into the 21st century. Jungle Julia is the hottest DJ in Austin. Ready for a night out, Jungle Julia and her girls turn heads all over Austin until they settle at Huck's, the coolest dive in town. There they meet Stuntman Mike, an aging rebel with a badass muscle car, a silver jacket, and a long scar on his face. The girls drink and dance the night away as Mike sits at the bar and watches. But Stuntman Mike is no innocent drifter. He has a secret weapon--and it's parked outside.

    Roberta Munroe screened short film submissions at Sundance for five years, and is an award-winning short filmmaker in her own right. So she knows a thing or two about how not to make a short film. From the first draft of your script to casting, production, editing, and distribution, this is your one-stop primer for breaking into the business. Featuring interviews with many of today's most talented writers, producers, and directors, as well as revealing stories (e.g., what to do when the skinhead crack addict next door begins screaming obscenities as soon as you call "action") from the sets of her own short films, Roberta walks you through the minefield of mistakes that an aspiring filmmaker can make--so that you don't have to make them yourself.

    Book annotation not available for this title...Title: .The Location Sound Bible..Author: .Viers, Ric..Publisher: .Ingram Pub Services..Publication Date: .2012/09/01..Number of Pages: .354..Binding Type: .PAPERBACK..Library of Congress: .2012016109

    Expanding on arguments made in his influential books The "Voice in Cinema" and "Sound in Cinema," Chion provides lapidary insight into the functions and aesthetics of sound in film and television. He considers the effects of such evolving technologies as widescreen, multitrack, and Dolby; the influences of sound on the perception of space and time; and the impact of such contemporary forms of audio-vision as music videos, video art, and commercial television. Chion concludes with an original and useful model for the audiovisual analysis of film.

    In Five Came Back, he achieves something larger and even more remarkable, giving us the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the prism of five film directors caught up in the war: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. It was the best of times and the worst of times for Hollywood before the war. The box office was booming, and the studios’ control of talent and distribution was as airtight as could be hoped. But the industry’s relationship with Washington was decidedly uneasy—hearings and investigations into allegations of corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too un-American” in its values and causes. Could an industry this powerful in shaping America’s mind-set really be left in the hands of this crew? Following Pearl Harbor, Hollywood had the chance to prove its critics wrong and did so with vigor, turning its talents and its business over to the war effort to an unprecedented extent. No industry professionals played a bigger role in the war than America’s most legendary directors: Ford, Wyler, Huston, Capra, and Stevens. Between them they were on the scene of almost every major moment of America’s war, and in every branch of service—army, navy, and air force; Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps; to the shaping of the message out of Washington, D.C. As it did for so many others, World War II divided the lives of these men into before and after, to an extent that has not been adequately understood. In a larger sense—even less well understood—the war divided the history of Hollywood into before and after as well. Harris reckons with that transformation on a human level—through five unforgettable lives—and on the level of the industry and the country as a whole. Like these five men, Hollywood too, and indeed all of America, came back from the war having grown up more than a little.

    His experiences and thoughts on screenwriting, adapting novels, adapting one's own novels (a bad idea), and on the craft itself contain more useful information than a pile of how-to manuals. As in his novels, McMurtry is by turns witty, acerbic, and thoughtful; the pieces are surprisingly stylish in that the bulk of them (17 out of 21) were spun off on monthly deadlines (for American Film magazine, in 1975-77), and McMurtry admittedly can't remember writing most of them. A fine collection, from a fine writer.No Clue: Or Learning to Write for the Movies. --The Hired Pen. --The Deadline Syndrome. --The Telephone Booth Screenwriter. --The Fun of It All. --All the President's Men, Seven Beauties, History, Innocence, Guilt, Redemption, and the Star System. --The Screenplay as Non-Book: A Consideration. --Pencils West: Or a Theory for the Shoot-'Em Up. --"Mary Hartman, Mary Hartman" and the Movie-Less Novelists. --O Ragged Time Knit Up Thy Ravell'd Sleave. --The Situation in Criticism: Reviewers, Critics, Professors. --Character, the Tube, and the Death of Movies. --The Disappearance of Love. --Woody Allen, Keith Carradine, Lily Tomlin, and the Disappearance of Grace. --The Last Picture Shows. --The Seasons of L.A.. --The Last Movie Column. --The Last Picture Show: A Last Word. --Approaching Cheyenne ... Leaving Lumet. Oh, Pshaw!. --Movie-Tripping: My Own Rotten Film Festival. --A Walk in Pasadena with Di-Annie and Mary Alice

    Thomas Lamarre contends that the history, techniques, and complex visual language of animation, particularly Japanese animation, demands serious and sustained engagement, and in The Anime Machine he lays the foundation for a new critical theory for reading Japanese animation, showing how anime fundamentally differs from other visual media.The Anime Machine defines the visual characteristics of anime and the meanings generated by those specifically "animetic" effects-the multiplanar image, the distributive field of vision, exploded projection, modulation, and other techniques of character animation-through close analysis of major films and television series, studios, animators, and directors, as well as Japanese theories of animation. Lamarre first addresses the technology of anime: the cells on which the images are drawn, the animation stand at which the animator works, the layers of drawings in a frame, the techniques of drawing and blurring lines, how characters are made to move. He then examines foundational works of anime, including the films and television series of Miyazaki Hayao and Anno Hideaki, the multimedia art of Murakami Takashi, and CLAMP's manga and anime adaptations, to illuminate the profound connections between animators, characters, spectators, and technology.Working at the intersection of the philosophy of technology and the history of thought, Lamarre explores how anime and its related media entail material orientations and demonstrates concretely how the "animetic machine" encourages a specific approach to thinking about technology and opens new ways for understanding our place in the technologized world around us.

    Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film.

    This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself—his own experiments, obsessions, and discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950–1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard’s career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

    Despite his on-screen persona, Niven wasn’t always the perfect gentleman. He was insecure both privately and professionally and used people to get ahead. But he did, he said, ‘at least try to be a decent man.’ He knew he often failed, although it isn’t easy to find people who ever had a bad word to say about him. In this fascinating biography of the star, Munn looks at the funny stories and the sad underlying truth, from his outrageous days with Errol Flynn and their irrevocable split –‘You always know where you are with Flynn. He always lets you down’ – and numerous affairs with stars and prostitutes, to an attempted suicide, his horrific experiences in war-torn France and the breakdown and blame of his second marriage. This compelling text includes interviews with his second wife, Hjordis, John Huston, Rex Harrison, Laurence Olivier, Loretta Young (they discussed marriage once), Niven’s long-time friend Michael Trubshawe, Peter Ustinov, Ava Gardner and many more.