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Film
In Chicks Digs Time Lords, a host of award-winning female novelists, academics and actresses come together to celebrate the phenomenon that is Doctor Who, discuss their inventive involvement with the show's fandom and examine why they adore the series. These essays will delight male and female readers alike by delving into the extraordinary aspects of being a female Doctor Who enthusiast. Essays include Carole Barrowman discussing what it was like to grow up with her brother John (including the fact that he's still afraid of shop-window dummies), columnist Jackie Jenkins providing a Bridget Jones' Diary-style memoir of working on Doctor Who Magazine, novelist Lloyd Rose analyzing Rose's changes between the ninth and tenth Doctors and much more. Other contributors include Elizabeth Bear (Jenny Casey), Lisa Bowerman (Bernice Summerfield), Mary Robinette Kowal (Shades of Milk and Honey), Jody Lynn Nye (Mythology series), Kate Orman (Seeing I), and Catherynne M. Valente (The Orphan's Tales). Also featured is a comic from the Torchwood Babiez creators, plus interviews with Doctor Who companions India Fisher (Charley) and Sophie Aldred (Ace).
The Complete Guide To All Things Walken He's been a dancer, a baker, a lion tamer, an award-winning actor, and a Hollywood legend. But Christopher Walken has never been the subject of a comprehensive biographical reference--until now. Here at last is a complete A-to-Z guide to this one-of-a-kind performer, featuring entries on everything from the Actors Studio (the legendary theatrical workshop where Walken spent eleven years as a janitor) to Zombie Movies (one of Walken's favorite film genres). Along the way, readers will discover: - Acting secrets and behind-the-scenes trivia from each of Walken's 100+ films--everything
from Annie Hall to Hairspray and beyond.
- Recipes and kitchen tips from "Chef Walken"--including a look at his short-lived TV show,
Cooking with Chris.
- Walken's music videos for Madonna, Duran Duran, and Fatboy Slim.
- The secrets of maintaining his extraordinary hair.
- Observations and reminiscences from Steven Spielberg, Quentin Tarantino, Tim Burton,
Woody Allen, Dennis Hopper, and countless others. Plus more bizarre B movies and Saturday Night Live appearances than you can shake a cowbell at! Complete with fascinating trivia and dozens of photographs, Christopher Walken A to Z offers the definitive look at a pop culture phenomenon.
from Annie Hall to Hairspray and beyond.
- Recipes and kitchen tips from "Chef Walken"--including a look at his short-lived TV show,
Cooking with Chris.
- Walken's music videos for Madonna, Duran Duran, and Fatboy Slim.
- The secrets of maintaining his extraordinary hair.
- Observations and reminiscences from Steven Spielberg, Quentin Tarantino, Tim Burton,
Woody Allen, Dennis Hopper, and countless others. Plus more bizarre B movies and Saturday Night Live appearances than you can shake a cowbell at! Complete with fascinating trivia and dozens of photographs, Christopher Walken A to Z offers the definitive look at a pop culture phenomenon.
Lawrence of Arabia, The Miracle Worker, To Kill a Mockingbird, The Manchurian Candidate, Gypsy, Sweet Bird of Youth, The Longest Day, The Music Man, What Ever Happened to Baby Jane, and more.
Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance. Cinema '62 challenges these assumptions by making the bold claim that 1962 was a peak year for film, with a high standard of quality that has not been equaled since.
Stephen Farber and Michael McClellan show how 1962 saw great late-period work by classic Hollywood directors like John Ford, Howard Hawks, and John Huston, as well as stars like Bette Davis, James Stewart, Katharine Hepburn, and Barbara Stanwyck. Yet it was also a seminal year for talented young directors like Sidney Lumet, Sam Peckinpah, and Stanley Kubrick, not to mention rising stars like Warren Beatty, Jane Fonda, Robert Redford, Peter O'Toole, and Omar Sharif. Above all, 1962--the year of To Kill a Mockingbird and The Manchurian Candidate--gave cinema attendees the kinds of adult, artistic, and uncompromising visions they would never see on television, including classics from Fellini, Bergman, and Kurosawa. Culminating in an analysis of the year's Best Picture winner and top-grossing film, Lawrence of Arabia, and the factors that made that magnificent epic possible, Cinema '62 makes a strong case that the movies peaked in the Kennedy era.
Cinema 2: The Time-Image brings to completion Gilles Deleuze's work on the theoretical implications of the cinematographic image. In Cinema 1: The Movement-Image, Deleuze proposed a new way to understand narrative cinema, based on Henri Bergson's notion of the movement-image and C. S. Peirce's classification of images and signs. In Cinema 2, he explains why, since World War II, time has come to dominate film: the fragment or solitary image, in supplanting narrative cinema's rational development of events, illustrates this new significance of time.
Deleuze ascribes this shift to the condition of postwar Europe: the situations and spaces "we no longer know how to describe"--buildings deserted but inhabited, cities undergoing demolition or reconstruction--and the new race of characters who emerged from this rubble, mutants, who "saw rather than acted." Deleuze discusses the films of Rossellini, De Sica, Fellini, Godard, Resnais, Antonioni, Pasolini, Rohmer, Ophuls, and many others, suggesting that contemporary cinema, far from being dead, is only beginning to find new ways to capture time in the image.
Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980-81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.
One of the most well regarded of non-Western film directors, responsible for acknowledged classics like Tokyo Story (1953), Ozu Yasujiro worked during a period of immense turbulence for Japan and its population. This book offers a new interpretation of Ozu's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence. Firmly situating him within the context of the Japanese film industry, Woojeong Joo examines Ozu's work as a studio director and his relation to sound cinema, and looks in-depth at his wartime experiences and his adaptation to postwar Japanese society. Drawing on Japanese materials not previously examined in western scholarship, this is a groundbreaking new study of a master of cinema.
Today, over half a century later, great films are measured by those of the 70s. Has there been a more impactful 10-year period? For the first time, cinema reflected life and society, presenting both on the big screen with a compelling and penetrating truth. Directors became household names, often overnight, and films routinely broke box office records.
With censorship relaxed, the subject matter could include alienation, descents into madness, drug addiction, dysfunctional relationships, promiscuity, alcoholism, PTSD, and any big news story of the day. Audiences gladly absorbed this new, shocking reality; in fact, they avoided films that candy-coated the truth.
Musicals evolved, westerns all but died for several years, science fiction and fantasy made an incredible resurgence, and horror dominated the box office along with disaster films. But by and large, films about social issues were the best draw.
Instant New York Times bestseller
The long-awaited first work of nonfiction from the author of the #1 New York Times bestselling Once Upon a Time in Hollywood: a deliriously entertaining, wickedly intelligent cinema book as unique and creative as anything by Quentin Tarantino.
In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with Cinema Speculation, the time has come, and the results are everything his passionate fans--and all movie lovers--could have hoped for. Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining. At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT's and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.
Instant New York Times bestseller
The long-awaited first work of nonfiction from the author of the #1 New York Times bestselling Once Upon a Time in Hollywood: a deliriously entertaining, wickedly intelligent cinema book as unique and creative as anything by Quentin Tarantino.
In addition to being among the most celebrated of contemporary filmmakers, Quentin Tarantino is possibly the most joyously infectious movie lover alive. For years he has touted in interviews his eventual turn to writing books about films. Now, with Cinema Speculation, the time has come, and the results are everything his passionate fans--and all movie lovers--could have hoped for. Organized around key American films from the 1970s, all of which he first saw as a young moviegoer at the time, this book is as intellectually rigorous and insightful as it is rollicking and entertaining. At once film criticism, film theory, a feat of reporting, and wonderful personal history, it is all written in the singular voice recognizable immediately as QT's and with the rare perspective about cinema possible only from one of the greatest practitioners of the artform ever.
In recent years, film has been one of the major genres within which the imaginaries involved in mapping the geopolitical world have been represented and reflected upon.
In this book, one of America's foremost theorists of culture and politics treats those aspects of the geopolitical aesthetic that must be addressed in light of both the post cold war and post 9/11 world and contemporary film theory and philosophy. Beginning with an account of his experience as a juror at film festival's, Michael J. Shapiro's Cinematic Geopolitics analyzes the ways in which film festival space and both feature and documentary films function as counter-spaces to the contemporary violent cartography occasioned by governmental policy, especially the current war on terror.
Influenced by the cinema-philosophy relationship developed by Gilles Deleuze and the politics of aesthetics thinking of Jacques Ranciere, the book's chapters examines a range of films from established classics like the Deer Hunter and the Battle of Algiers to contemporary films such as Dirty Pretty Things and the Fog of War. Shapiro's use of philosophical and theoretical works makes this cutting edge examination of film and politics essential reading for all students and scholars with an interest in film and politics.
What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.
The Cinematographer's Voice is a unique exploration of contemporary filmmaking and cinematography. The distillation of more than one-hundred interviews with cinematographers from around the world, and the product of a decade's worth of scholarship, the book is not only a collection of interviews with some of the world's leading cinematographers, but also a panoramic sweep of what image-making means in the era of digital cinema. Frequently, cinematography may seem intimidating as a discipline, the preserve solely of practitioners who have learned, through years of exposure to photographic technology, both the required jargon and background knowledge to comfortably engage with an often-technical field. In our present era of film studies, this is no longer the case. The interviews collected here are informative not only on matters of technique, but also on the ways in which practitioners formulate their methodologies, work with directors, and engage with the many logistical hurdles of visual storytelling. The result is an oral history of the past forty years of filmmaking and the cinematography it has produced.
There's more to being a DP than holding a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography.
Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production.
Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the classic tried and true methods.
New! A DVD and website features hours of video footage, offering key instruction in topics such as camera basics and essentials, lighting, shooting methods, and much more.
Topics include:
. Concepts of filmmaking
. Language of the lens
. Cinematic continuity
. Lighting for film, digital, and HD
. Exposure
. HD cinematography and shooting
. Shooting in HD
. Image control and filters
. Bleach bypass processes
. Lighting as storytelling
. Shooting special effects
. Set procedures and other issues
The DVD files are also available at http: //www.taylorandfrancis.com/cw/brown-9780240812090/.
"This book is a gold mine for fans."--Kirkus Reviews
It is the story of a film masterpiece--how it was created and how it was almost destroyed.
It is the celebration of brilliant achievement and a sinister tale of conspiracy, extortion, and Communist witch hunts.
It is the chronicle of a plot orchestrated in boardrooms and a mountaintop palace, as a media company that claimed to stand for "genuine democracy" defied the First Amendment and schemed to burn Hollywood's greatest creation.
Citizen Kane: A Filmmaker's Journey is the extraordinary story of the production of Orson Welles' classic film, using previously unpublished material from studio files and the Hearst organization, exclusive interviews with the last surviving members of the cast and crew, and what may be the only surviving copies of the "lost" final script.
Harlan Lebo charts the meteoric rise to stardom of the twenty-three-year-old Orson Welles, his defiance of the Hollywood system, and the unprecedented contract that gave him near-total creative control of his first film. Lebo recounts the clashes between Welles and studio executives eager to see him fail, the high-pressure production schedule, and the groundbreaking results. Lebo reveals the plot by the organization of publisher William Randolph Hearst to attack Hollywood, discredit Welles, and incinerate the film. And, at last, he follows the rise of Citizen Kane to its status as the greatest film ever made.
A prolific film industry has flourished on the banks of the Nile since the earliest days of cinema, producing movies that have been hugely popular and immensely influential not only in Egypt but across the Arab world. Concentrating on productions written and produced entirely in Egypt, Sameh Fathy--a film critic with an encyclopedic knowledge of the history of Egyptian cinema--here selects the 101 most important movies to come out of Cairo's famous studios over the last eighty years. From classic comedies like Salam Is Fine to social dramas like The Second Wife, and from literary adaptations like Call of the Curlew to masterpieces of the cinematic art like The Night of Counting the Years, the author introduces us to each film's writers, producers, directors, and stars, and explains the movie's particular historical, cultural, or artistic significance. Illustrated throughout with posters and stills from all the movies covered.
Studies of "Classic Hollywood" typically treat Hollywood films released from 1930 to 1960 as a single interpretive mass. Veronica Pravadelli complicates this idea. Focusing on dominant tendencies in box office hits and Oscar-recognized classics, she breaks down the so-called classic period into six distinct phases that follow Hollywood's amazingly diverse offerings from the emancipated females of the "Transition Era" and the traditional men and women of the conservative 1930s that replaced it to the fantastical Fifties movie musicals that arose after anti-classic genres like film noir and women's films. Pravadelli sets her analysis apart by paying particular attention to the gendered desires and identities exemplified in the films. Availing herself of the significant advances in film theory and modernity studies that have taken place since similar surveys first saw publication, she views Hollywood through strategies as varied as close textural analysis, feminism, psychoanalysis, film style and study of cinematic imagery, revealing the inconsistencies and antithetical traits lurking beneath Classic Hollywood's supposed transparency.
The extraordinary story of the making of Cleopatra, the film that changed the face of Hollywood Cleopatra has its place as one of the most fabled films of all time. While others have won more Oscars, attracted better reviews and taken more money at the box office, the 1963 film starring Elizabeth Taylor and Richard Burton stands alone in cinema legend. What began in 1958 as a $2 million vehicle for Joan Collins eventually opened five years later, having cost more than twenty times that amount. The making of the film soon became a cautionary tale, for the lavish extravagance of Cleopatra all but bankrupted 20th Century Fox and almost singlehandedly set in motion the decline of the major studios. Actors and filmmakers were hired and fired at a breathtaking rate, and by the time the film was finally released, Hollywood could only watch in horror as it died at the box office. This is an epic tale of love and lust; of gossip, money, sex, movie-star madness, studio politics and the birth of paparazzi journalism. Within the saga of Cleopatra lies the end of the era of Hollywood's studio system, the seeds of the Swinging Sixties, and the stuff of timeless movie legend.