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Film
When The Texas Chain Saw Massacre first hit movie screens in 1974 it was both reviled and championed. To critics, it was either a degrading, senseless misuse of film and time or an intelligent, absorbing and deeply disturbing horror film. However it was an immediate hit with audiences. Banned and celebrated, showcased at the Cannes film festival and included in the New York MoMA's collection, it has now come to be recognized widely as one of the greatest horror movies of all time. A six-foot-four poet fresh out of grad school with limited acting experience, Gunnar Hansen played the masked, chain-saw-wielding Leatherface. His terrifying portrayal and the inventive work of the cast and crew would give the film the authentic power of nightmare, even while the gritty, grueling, and often dangerous independent production would test everyone involved, and lay the foundations for myths surrounding the film that endure even today. Critically-acclaimed author Hansen here tells the real story of the making of the film, its release, and reception, offering unknown behind-the-scenes details, a harrowingly entertaining account of the adventures of low-budget filmmaking, illuminating insights on the film's enduring and influential place in the horror genre and our culture, and a thoughtful meditation on why we love to be scared in the first place.
In 1953, Paramount was making a film with a new actress named Audrey Hepburn. Life magazine assigned one of its top young photographers, Mark Shaw, to shoot a feature, and he spent weeks with the star on and around the set. Shaw's extraordinary level of access resulted in an amazing array of photos and over 60 rolls of film that captured the budding ingénue's charm and grace on set and in everyday life. The images chronicled Hepburn waking up at home, having her hair washed at the beauty parlor, reading, relaxing, studying the script, chatting with her costars and director Billy Wilder, and acting in one of her most famous roles. Through the handful of photographs published in Life for the Sabrina article have become iconic images of Hepburn, the majority of the negatives were misplaced and never published. Rediscovered 50 years later, these photographs offer a stunning visual biography of Hepburn's youth and rising star.
An intimate memoir by the controversial and outspoken Oscar-winning director and screenwriter about his complicated New York childhood, volunteering for combat, and his struggles and triumphs making such films as Platoon, Midnight Express, and Scarface. Before the international success of Platoon in 1986, Oliver Stone had been wounded as an infantryman in Vietnam, and spent years writing unproduced scripts while driving taxis in New York, finally venturing westward to Los Angeles and a new life. Stone, now 73, recounts those formative years with in-the-moment details of the high and low moments: We see meetings with Al Pacino over Stone's scripts for Scarface, Platoon, and Born on the Fourth of July; the harrowing demon of cocaine addiction following the failure of his first feature, The Hand (starring Michael Caine); his risky on-the-ground research of Miami drug cartels for Scarface; his stormy relationship with The Deer Hunter director Michael Cimino; the breathless hustles to finance the acclaimed and divisive Salvador; and tensions behind the scenes of his first Academy Award-winning film, Midnight Express. Chasing the Light is a true insider's look at Hollywood's years of upheaval in the 1970s and '80s.
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.
A Chronology of Film presents a fresh perspective on the medium by taking a purely chronological approach to its history, tracing the complex links between technical innovations, social changes, and artistic interventions.
Organized around a central timeline that charts the development of film from the earliest moving images to present-day blockbusters, it features key films, together with commentaries and contextual information about the social, political, and cultural events of the period in which they were produced. Special feature spreads highlight important technical developments and key practitioners. Covering a wide selection of genres, styles, and directors, this Chronology is invaluable as a comprehensive guide to film in all its different forms.
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.
Celebrating women directors and their incredible contributions to filmmaking, this fascinating survey includes a brief history about groundbreaking trailblazers, in-depth interviews with singular female directors, and a comprehensive list of noteworthy talents and their films. From the birth of cinema in the 1890s to the global box office today, women directors have had to work hard to tell their stories. Although they make up a small percentage of current filmmakers, their contributions to the cinematic arts are both significant and unique. In revelatory conversations with international filmmakers, film critic and historian Gates shines a light on their career-spanning works. From feminist pioneers and maverick independents to Oscar-winning directors, these filmmakers include Jane Campion, Susan Seidelman, and Mira Nair. Through illuminating discussions, the directors take readers on a deep exploration into their filmmaking processes and themes. Each is accompanied by illustrations of the filmmakers on location and vivid film stills. Offering a rare glimpse into the movie business, they share stories of their unique journeys navigating the film industry. In an era when most fans of film rely on the Internet for information, this curated collection of interviews is the ideal reference with insights directly from these trailblazing filmmakers themselves.
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.
A celebration of the cinema of the 70s. What a decade!
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.