Now, for the first time, del Toro reveals the inspirations behind his signature artistic motifs, sharing the contents of his personal notebooks, collections, and other obsessions. The result is a startling, intimate glimpse into the life and mind of one of the world's most creative visionaries. Complete with running commentary, interview text, and annotations that contextualize the ample visual material, this deluxe compendium is every bit as inspired as del Toro is himself.Contains a foreword by James Cameron, an afterword by Tom Cruise, and contributions from other luminaries, including Neil Gaiman and John Landis, among others.

    80 black-and-white photos.

    The brightest stars in Hollywood's firmament have been assembled in one volume: Garbo and Swanson, Gable and Grant, Tracy and Hepburn, Fairbanks and Pickford, Taylor and Burton - along with today's cinematic giants: Cruise and Kidman, Nicholson and Streep, De Niro and DiCaprio, Hanks and Roberts, and scores more. Vanity Fair's photographers - among them Cecil Beaton, Annie Leibovitz, Helmut Newton, Herb Ritts, Edward Steichen and Bruce Weber - have helped to define modern portraiture. Likewise, Vanity Fair's stable of Hollywood writers in this volume includes luminaries of the past (P.G. Wodehouse, Dorothy Parker and D.H. Lawrence) and of the present (Christopher Hitchens, Dominick Dunne, Amy Fine). Here, then, is a century's worth of stars and moguls, parties and scandals, power and glamour, through the unrivalled lens and the inimitable prose of Vanity Fair.

    This celebration of the world's most elegant secret agent will thrill Bond fans of all ages.

    What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.

    Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analyzed with depth and clarity. Entries include: * auteur theory* Blaxploitation* British New Wave* feminist film theory* intertextuality* method acting* pornography* Third World Cinema* Vampire movies.

    Finally a script format guide that is accurate, complete, authoritative and easy to use, written by Hollywood's foremost authority on industry standard script formats.

    Originally published in Paris, this is a collection of Hollywood's darkest and best kept secrets from the pen of Kenneth Anger, a former child movie actor who grew up to become one of America's leading underground film-makers.

    This enlightening book guides filmmakers toward making the right color selections for their films, and helps movie buffs understand why they feel the way they do while watching movies that incorporate certain colors.Guided by her twenty-five years of research on the effects of color on behavior, Bellantoni has grouped more than 60 films under the spheres of influence of six major colors, each of which triggers very specific emotional states. For example, the author explains that films with a dominant red influence have themes and characters that are powerful, lusty, defiant, anxious, angry, or romantic and discusses specific films as examples. She explores each film, describing how, why, and where a color influences emotions, both in the characters on screen and in the audience. Each color section begins with an illustrated Home Page that includes examples, anecdotes, and tips for using or avoiding that particular color.Conversations with the author's colleagues - including award-winning production designers Henry Bumstead (Unforgiven) and Wynn Thomas (Malcolm X) and renowned cinematographers Roger Deakins (The Shawshank Redemption) and Edward Lachman (Far From Heaven) - reveal how color is often used to communicate what is not said.Bellantoni uses her research and experience to demonstrate how powerful color can be and to increase readers awareness of the colors around us and how they make us feel, act, and react. Learn how your choice of color can influence an audience's moods, attitudes, reactions, and interpretations of your movie's plot. See your favorite films in a new light as the author points out important uses of color, both instinctive and intentional. Learn how to make good color choices, in your film and in your world.

    Digital SLR Cameras & Photography For Dummies covers the hardware, the software, and the techniques you need to take top-notch digital photos with your dSLR. This guide will get you clicking with information on:The advantages of a dSLR camera: more control over what portions of your images are in sharp focus; a more accurate viewfinder; lower levels of the annoying grain effect called noise; ability to capture the most fleeting action; more control over depth-of-field; ability to review your image immediately, upload the photo to your computer, make adjustments, and print a full-color print in minutes Choosing the accessories that will take your dSLR to the next level, depending on the type of photography you do and your current and future needs Megapixels, and matching pixels to print sizes and printers The components of a dSLR: lens; viewing system, aperture, shutter, light-sensitive component; medium for storing the captured image Accessorizing your dSLR with memory cards, filter add-ons (infrared, polarizers, neutral density, and special effects), electronic flash, tripods, and more Once you get your hands on a dSLR camera (literally), this reference helps you use its features and controls to take great pictures. Complete with more than 300 color photos, lots of tables, and clear, step-by-step instructions for various situations, subjects, and calculations, Digital SLR Cameras & Photography For Dummies helps you refine your techniques with info on:Getting the exposure right with the histogram, the metering system, or Program, Aperture Priority, Shutter Priority, or Manual Exposure modes Achieving the right focus with manual focus or autofocus The scoop on lenses--prime, zoom, and special--and using them appropriately and creativelyHow to use interchangeable lenses, set up speedy continuous-shooting burst modes, apply selective focus, and shoot under the lowest light levels Special features of dSLR to reduce noise, cancel camera shake, do time-lapse photography, and shoot infrared photos Working with the RAW format, JPEG, or both Taking action, flash, or sequence photos or freezing the action Composition basics, including the Rule of Thirds, tips for shooting portraits or group photos, and more Using image editors to fix-up your photos (with cropping, tonal adjustments, color correction, spot removal, sharpening/blurring, and more), with step-by-step instructions for using Photoshop Compositing images Choosing your printer and evaluating your output options With Digital SLR Cameras & Photography For Dummies, you won't only get the how-to for various types of shots, you'll see the results with great color photos. In no time, you'll be taking great photos of your own.

    This edition features a new and expanded colour section, completely updated DVD information, and several brand new reviews of Takashi Miike films that were unavailable for coverage at the time of the book's initial production.

    Best known for his highly stylized film noir classics T-Men, He Walked by Night, and The Big Combo, Alton earned a reputation during the 1940s and 1950s as one of Hollywood's consummate craftsmen through his visual signature of crisp shadows and sculpted beams of light. No less renowned for his virtuoso color cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his work on the musical An American in Paris. First published in 1949, and long out of print since then, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema. In simple, non-technical language, Alton explains the job of the cinematographer and explores how lighting, camera techniques, and choice of locations determine the visual mood of film. Todd McCarthy's introduction, written especially for this edition, provides an overview of Alton's biography and career and explores the influence of his work on contemporary cinematography.

    It is a valuable contribution not just of film criticism but to a society in which the vital role of women is just beginning to emerge."—Christian Science Monitor"Haskell is interested in women—how they are used in movies, how they use movies, and how the parts they play function as projections and verifications of our myths about women's lot and woman's psyche and even, lately, women's lib."—Jane Kramer, Village Voice"In examining the goddesses worshipped by an entire nation, Molly Haskell reveals a good deal about our national character and our most cherished sexual myths. . . . Concerned with the deeply ingrained belief of women's inferiority, she analyzes movies as a social product as well as a social arbiter, and she effectively demonstrates how women are encouraged to impose limitations on themselves by fashioning those selves after flickering shadows in a darkened auditorium—sexual creatures who possess neither ability nor ambition beyond their bodies. . . . Both as an examination of film and as sociology, From Reverence to Rape is excellent."—Harriet Kriegel, The Nation

    Caligari" to Richard Shickel on the cult of Greta Garbo.

    . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinéma: langue ou langage?'"—Geoffrey Nowell-Smith, Times Literary Supplement"Modern film theory begins with Metz."—Constance Penley, coeditor of Camera Obscura"Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, [Film Language] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."—Stephen Heath, Screen