Star Wars the Acolyte Visual Guide
Delve deeper into Star Wars(TM) The Acolyte with the definitive visual guide featuring key facts, gorgeous imagery, and behind-the-scenes insights from the Disney+ series. Decades before the birth of Darth Vader, explore the glorious High Republic era in the Star Wars galaxy. During this exciting time, the noble Jedi are protectors of peace and justice, and the Republic is thriving - but a threat to their power is growing in the shadows... Explore The Acolyte's High Republic era as it's never been seen before: A NEW ERA IN THE STAR WARS GALAXY: Go behind the scenes of Star Wars: The Acolyte through DK's iconic visual guide format as it reveals all of the key characters, locations, vehicles, and technology from the Disney+ seriesRICHLY DETAILED AND AUTHORITATIVE: Written by Star Wars insider Pablo Hidalgo, with a foreword by Osha/Mae Aniseya actor Amandla StenbergUNRIVALLED INSIGHT INTO THE ACOLYTE The perfect Star Wars gift for fans who want to gain a better understanding of the Disney+ seriesPacked with everything you need to know about Star Wars: The Acolyte, from key information to behind-the-scenes details, Star Wars: The Acolyte Visual Guide is a must-own volume for die-hard fans of all ages. (c) AND (TM) 2025 LUCASFILM LTD.
The Documentary Audit
Documentary films are often celebrated with aural metaphors: they give "voice" to the "voiceless" and ask the public to "listen." But when did listening become synonymous with social justice? How exactly do documentaries train audiences to listen when they ask them to right historic wrongs or hold power to account? The Documentary Audit challenges the association of listening with accountability and charts oppositional modes of listening otherwise. Pooja Rangan develops a framework for understanding how documentary practices have, under the mantle of accountability, provided a moral cover for listening habits that are used to profile, exclude, and incarcerate. From the British Crown's promotional films to Zoom meeting recordings, from disability-informed filmmaking in Japan to forensic efforts to expose anti-Palestinian violence in Hebron, Rangan explores how historical and contemporary practitioners have challenged and refused the lures of normative documentary listening habits in order to listen with an accent, listen in crip time, and listen like an abolitionist. Through an interdisciplinary approach that bridges documentary and sound studies while considering raciolinguistics, disability access, and legal forensics, Rangan demonstrates how the question of listening is central to the study of documentary. Far from being a neutral ethic, The Documentary Audit shows, listening creates the reality it purports to verify--with transformative political possibilities.
The art of the Moving Picture ...being the 1922 Revision of the Book First Issued in 1915 ... by Vachel Lindsay
The Art of the Moving Picture, by Vachel Lindsay, is a seminal work of early film criticism. This edition is the 1922 revision of the book first issued in 1915. Lindsay offers a unique and passionate perspective on the burgeoning art form of cinema. He discusses the aesthetic and social implications of motion pictures, advocating for their recognition as a legitimate and powerful art. Lindsay's writing captures the excitement and wonder surrounding the silent film era. This book provides valuable insights into the early development of film theory and the cultural impact of movies in the early 20th century. This edition is a must-read for film scholars, historians, and anyone interested in the origins of cinema.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The art of the Moving Picture ...being the 1922 Revision of the Book First Issued in 1915 ... by Vachel Lindsay
The Art of the Moving Picture, by Vachel Lindsay, is a seminal work of early film criticism. This edition is the 1922 revision of the book first issued in 1915. Lindsay offers a unique and passionate perspective on the burgeoning art form of cinema. He discusses the aesthetic and social implications of motion pictures, advocating for their recognition as a legitimate and powerful art. Lindsay's writing captures the excitement and wonder surrounding the silent film era. This book provides valuable insights into the early development of film theory and the cultural impact of movies in the early 20th century. This edition is a must-read for film scholars, historians, and anyone interested in the origins of cinema.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Contemporary Post-Production
Contemporary Post-Production is an engaging and insightful guide through the often fraught and stressful phase of post-production. It brings the art and craft of editing to life, describes contemporary workflows, and demonstrates how to break the post-production process into manageable phases.
Personal Voice
Offering a definitive approach by which any individual may learn to unleash the power of the personal, this book provides the reader with an exhaustive guide on how to tell the stories they're uniquely qualified to tell.
Hitchcockian Thrillers
During Alfred Hitchcock's five-decade reign as the screen's internationally celebrated Master of Suspense, he directed 53 motion pictures. In such Hitchcock gold standard classics as The 39 Steps, Rear Window, Vertigo, North by Northwest, Psycho, and The Birds, he staked his claim as the architect, the O.G. of the thriller. He laid down the rules and rhythm of the genre, created an immediately identifiable visual style, experimented constantly with technique, pushed boundaries, tweaked censors, and shattered the expectations of his audiences -- along with their nerves. In exploiting his private fears and vulnerabilities, Hitchcock was as brilliant as making us think and feel as he was at making us scream and invading our nightmares. His films elevated the form and were among the biggest box-office successes and most influential of their time. They were and are emulated for their fashion sense and, more lastingly, even nudged the culture forward by liberalizing attitudes toward cinematic violence and sexual frankness. Hitchcockian Thrillers: Must-See Films in the Style of the Suspense Master is a curated, opinionated, authoritative, highly personal, lavishly illustrated guide to nine decades of international moviemaking featuring films by directors - beginning in the era of Fritz Lang, Billy Wilder, and Sir Carol Reed and moving right up through today's David Fincher, Steven Soderbergh, Paul Thomas Anderson, and Martin Scorsese - who have all tried to 'do a Hitchcock.'
Orgy Plus Massacre 3
Post-war cinema saw a rapid rise in the production of B-movies - low-budget genre films dealing with such subjects as horror, science fiction, juvenile delinquency and beatniks, bad girls and women in prison, bikers, gangsters, jungle terror, mondo, drug culture, and finally sexploitation, which eventually flourished due to a constant push-back against censorship. By the end of the 1960s, explicit sex and graphic violence had both become accepted in the mainstream. This new liberalism peaked in the mid-70s, when pretty much anything could be legally seen on commercially available film in one form or another, from picture houses to backstreet projection booths. ORGY PLUS MASSACRE is a book series which examines the three decades from 1950 to 1979, when film-makers were increasingly free to express their most expansive, exploratory, and often excessive visions on celluloid.ORGY PLUS MASSACRE 3 includes over 150 rare and unusual photographs, with accompanying informative texts, from the years 1960 to 1962. The book is divided into five sections: Horror, Science Fiction, Mayhem, Myth, and Sex.
Warfare + Civil War
Includes the screenplays for Warfare and Civil War, with an accompanying interview on screenwriting with Iraq War verteran Ray Mendoza, who co-wrote and co-directed Warfare with Alex Garland.Warfare embeds audiences with a platoon of American Navy SEALs in the home of an Iraqi family, overwatching the movement of US forces through insurgent territory. A visceral, boots-on-the-ground story of modern warfare, told like never before: in real time, and based on the memory of the people who lived it -- co-writer/co-director Ray Mendoza was a part of the platoon. From Alex Garland comes Civil War, a journey across a dystopian future America following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House. The film stars Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson and Nick Offerman.
If....
In his compelling study of if.... (1968), starring which stars Malcolm McDowell as an English public school student who leads a guerrilla insurgence, Mark Sinker traces director Lindsay Anderson's depiction of the progress from repression, conformity and fusty ritual to anarchy and bloody revolt. The film's title is a sardonic nod to Rudyard Kipling's most famous poem, while its narrative explores how prankish rebels are groomed to police an Empire. Released at a time of unprecedented student uprisings in Europe and America, if.... provided a peculiarly English perspective on the battle between generations - the perennial war of the romantically passionate against the corrupt, the ugly, the old, and the foolish. Though its emotional surface is authentically anti-authoritarian, its intellectual substance, as Sinker argues, is rooted in a deep familiarity with the symbols of English ruling-class values. In his foreword for this new edition, Mark Sinker considers if.... 's continuing relevance in respect of two contemporary phenomena (the ghastly commonplace of school shootings; urban terrorism) including the degree to which we somehow continue to feel sympathy toward this small gang of entitled schoolboys. Contemplating director Anderson's ambivalence towards education, not least the jargons of academic film theory after the 1960s, Sinker reflects on how his own approach to the film was informed by the critical lingua franca of the 1980s music press.
King Kong
The 1933 KING KONG was not just a terrifying monster movie. It was also an epic fairy tale, a tragic love story, and a landmark piece of cinema that introduced one of the most beloved characters in motion picture history-a universally recognizable cultural icon whose legacy encompasses a vast multimedia universe consisting of more than ten feature films as well as numerous television shows, books, comics, toys, collectibles, and even a Broadway musical.In this extensively revised and updated edition of a classic book first published two decades ago, King Kong: The History of a Movie Icon is the definitive account of the most famous simian in pop-culture history. It spans the whole of the Eighth Wonder's filmography, chronicling in detail the making of every Kong movie beginning with the 1933 original and continuing through the giant gorilla's Japanese adventures and the epic Dino De Laurentiis and Peter Jackson remakes before concluding with the most recent films that place the great ape within an ever-expanding "Monsterverse." Author and Kongophile Ray Morton also offers entertaining looks at the character's appearances in other media, along with plenty of trivia and reflections on the franchise's enduring appeal. Packed with photographs and based on extensive new research and exclusive interviews, this is by far the most complete and comprehensive guide to all things Kong.Included here are: The creation of the Kong character by Merian C. Cooper The development, production, and release of the original 1933 film and its many successors The Cartoon Kong: the giant gorilla's animated incarnations. Kong on the Stage: theatrical productions featuring the Eighth Wonder. Kong on the Page: the many publications devoted to the great ape. The Sons of Kong: Kong variants, spoofs, and rip-offs such as Mighty Joe Young, Queen Kong, and A*P*E*. The Kongs that Never Were: Kong projects that never made it to the screen The innumerable Kong-related products generated over the past century
That Very Witch
That Very Witch explores the cyclical rise and fall of the cinematic witch in American culture and her relationship to feminist movements over time.Through historical analysis and dozens of case studies, Payton McCarty-Simas demonstrates how the cinematic witch's evolution across decades reflects major shifts in how feminism is perceived politically and interpreted (counter-)culturally in America. From Mia Farrow to the Moral Majority, from the Satanic Panic to Riot Grrrl, from #MeToo to the 2024 election, the witch can be found at the heart of the zeitgeist. What can we learn from her presence?
Feng Xiaogang's New Year Films
This book offers not only an in-depth study of Feng Xiaogang as a cinematic auteur but also a comprehensive and informative discussion of the industrial transformation of mainstream Chinese cinema under party-state regulation from the 1990s to the 2010s.
Japanese Cinema and Punk
In Japanese Cinema and Punk, Mark Player examines how the do-it-yourself ethos of punk empowered a new generation of Japanese filmmakers during a period of crisis and change in Japan's film industry. Drawing on rare materials and first-hand interviews with key figures from the jishu eiga (self-made film)tradition, including Ishii Gakuryu (formerly Ishii Sogo), Yamamoto Masashi, Tsukamoto Shin'ya, and Fukui Shozin, Player explores how punk's bricolage style was leveraged to create exciting intermedial film aesthetics. These aesthetics were influenced by rock music, graffiti art, street performance, handmade animation, television, and other mass media. By considering the practical, phenomenological, and political ramifications of combining diverse media elements, Player offers in-depth analyses of films such as Burst City (1982), Robinson's Garden (1987), Tetsuo: The Iron Man (1989), and more. He further traces the changing sociocultural position of Japan's punk generation throughout the 1980s-from its euphoric early-80s peak to the growing disillusionment caused by its mainstream co-optation and convergence.
Globalized Queerness
Has a global queer popular culture emerged at the expense of local queer artists? In this book, Helton Levy argues that global queer culture is indebted to specific, local references that artists carry from their early experiences in life, which then become homogenized by contemporary media markets. The assumption that queer publics live and consume only through a global set of references, including gay parades and rainbow flags, for example, erases many personal complexities.Levy revisits media characters that have caught the attention of the broader public - such as Calamity Jane (1953), the Daffyd Thomas character from the BBC comedy Little Britain (2003-2007), Brazilian drag queen Pabblo Vittar, French singer Christine and the Queens, and the Italian-Egyptian rapper Mahmood - and argues that they have gradually blended in the public's perception. This has often obscured the individual struggles faced by these characters, such as immigration, homophobia, poverty and societal exclusion. Levy also questions what happens when global media flows take queer culture to regions wherein the notion of LGBTQ+ rights are not entirely acceptable. Utilizing insights from media reports published across the world's ten biggest media markets, Levy argues that there are a series of conditions which artists and cultural actors negotiate once they achieve any kind of success in mainstream media, while local queer references remain unseen in the wider media world. For that reason, he argues for stronger incentives for communities to accept and acknowledge the work of queer people before and after commoditization.
Sick and Dirty
Longlisted for the National Book Critics Circle Award, NonfictionAN ALLSTORA'S QUEER HISTORY 101 BOOK CLUB PICK "An absorbing landmark of film criticism." --The Chicago Tribune, "The 10 Best Books of the Year" A blazingly original history celebrating the persistence of queerness onscreen, behind the camera, and between the lines during the dark days of the Hollywood Production Code. From the 1930s to the 1960s, the Motion Picture Production Code severely restricted what Hollywood cinema could depict. This included "any inference" of the lives of homosexuals. In a landmark 1981 book, gay activist Vito Russo famously condemned Hollywood's censorship regime, lambasting many midcentury films as the bigoted products of a "celluloid closet." But there is more to these movies than meets the eye. In this insightful, wildly entertaining book, cinema historian Michael Koresky finds new meaning in "problematic" classics of the Code era like Hitchcock's Rope, Minnelli's Tea and Sympathy, and-bookending the period and anchoring Koresky's narrative-William Wyler's two adaptations of The Children's Hour, Lillian Hellman's provocative hit play about a pair of schoolteachers accused of lesbianism. Lifting up the underappreciated queer filmmakers, writers, and actors of the era, Koresky finds artists who are long overdue for reevaluation. Through his brilliant inquiry, Sick and Dirty reveals the "bad seeds" of queer cinema to be surprisingly, even gleefully subversive, reminding us, in an age of book bans and gag laws, that nothing makes queerness speak louder than its opponents' bids to silence it.
Uncanny Landscapes in 21st Century British Cinema
A consideration of how some recent British films are defined by their atmospheres of unease, which grow out of a bold and distinctive treatment of landscape. An uncertain tendency in recent British cinema has been to conjure atmospheres of eerie unease, depicting landscapes through which lost figures wander. The films of, among others, Andrea Arnold, Clio Barnard, Paddy Considine, Shane Meadows and Ben Wheatley play out against these landscapes, which are formed of abandoned sites that are neither rural nor urban, but somewhere in between. These liminal spaces are disorientating enclosures from which the viewer infers something malign: the pestilence in the ditch. These contaminated metaphysical spaces are travelled by the films' characters and viewers alike.
The Real Pink Panther
Unveils the untold story of the iconic franchise, exploring its origins, secrets, and the complex legacy of Peter Sellers.The Pink Panther series is one of the most enduring and financially successful franchises in movie history, beginning with 1963's The Pink Panther, which introduced audiences to the iconic Inspector Clouseau, unforgettably played by Peter Sellers.Drawing on previously unseen material and 'exclusive' interviews with stars of the films and crew members, along with friends and colleagues of Peter Sellers, Robert Sellers presents, for the very first time, the untold story and some of the secrets behind the Pink Panther films.The original Pink Panther movie proved popular enough to spawn eight sequels. The films also inspired a popular animated TV series based on the pink panther cartoon character that appeared in the film's credit sequences. There were also spin-off toys, games, clothes, even breakfast cereal. In the 2000s, comedy legend Steve Martin twice stepped into the role of Inspector Clouseau.But behind the laughs, there was madness and darkness, and at the series' heart was one of cinema's most tragic figures: Peter Sellers. A comedic genius, Sellers could be temperamental, unprofessional, and unpredictable. Add to that a heart problem Sellers feared could kill him at any moment.This book reveals many of the Pink Panther's secrets for the first time, shining a spotlight behind the scenes at the making of some of the most beloved comedies of all time, and the extraordinary personalities that brought them to life.
When the Carry on Stopped
Uncover the turbulent transition of the Carry On series and its stars during the 1960s.When the Carry On Stopped looks at how the Carry On film series made its painful transition from one film company, Anglo-Amalgamated, to another, the Rank Organisation. In examining this little-known but fascinating story, the growth of Anglo-Amalgamated is highlighted through the success of its owners, partners Stuart Levy and Nat Cohen. Levy's sudden death in 1966 encouraged Cohen to ditch the Carry Ons in favour of more prestigious feature films.Without a film distributor, the series' producer Peter Rogers, was forced to search for another, eventually finding the series a new home at Rank. However, Rank was unwilling to endorse the work of a rival and so dropped the 'Carry On' title. The Carry On series looked doomed.When the Carry On Stopped also sheds new light on the careers of the Carry On stars at this critical time. We learn of Barbara Windsor's involvement in the stage disaster Twang!!, of Jim Dale's stage success, Sid James' first heart attack and Charles Hawtrey losing his mother. The book calls out the fat shaming of Joan Sims as one of the many injustices shown to her by the producer.This is essential reading for Carry On fans and those interested in the machinations of the British entertainment industry in the 1960's.
Monsters vs. Patriarchy
Across the globe, the violent effects of patriarchy are manifest. Women, trans people, gender-nonconforming people, and the racialized Other are regularly subjected to physical danger, beginning with the denial of vitally important health care, and, in its most horrific form, rape, trafficking, and murder. Monsters vs. Patriarchy links these real-world horrors to the monstrification and dehumanization of people as expressed in contemporary global cinema. This monstrification has been achieved through a toxic imagination attributed to women, a trait that historically referred to the power of women to negatively affect others, including their own children in the womb, with only the use of their imagination. This process reflects the misogynist and racist world in which we live, where female bodies, people of color, and alternative identities represent a threat to patriarchal power. Monsters vs. Patriarchy examines female monstrosity as it appears in horror films from around the world and considers specific political, scientific, and historical contexts to better understand how we construct and reconstruct monstrosity, using an intersectional approach to examine the imposition of gender and racial hierarchies that support national power structures. The authors contend that monstrous female cinematic subjects, including ghosts, witches, cannibals, and posthuman beings, are becoming empowered, using the tools of their monstrification to smash the colonial, white supremacist, and misogynist structures that created them.
Virtual Production
This book, written by industry experts, provides a comprehensive understanding of virtual production processes, concepts, and technology - helping readers get to grips with this nascent technology.
The Creative Producing Handbook
Written by the head of physical production at New Line Cinema, The Creative Producing Handbook: An Insider's Guide to Production provides a detailed overview of creative film production and what it takes to make it as a producer or executive in today's industry.
Marketing for Microbudget Films
In Marketing for Microbudget Films, feature film director, producer and educator Nick Smith shares a combination of blockbuster and indie techniques for targeting a dedicated audience. Smith provides hands-on suggestions for strategies designed to match a variety of genres, territories and viewer tastes.
Marleen Gorris
Dutch director Marleen Gorris is known chiefly for two films: A Question of Silence (1982), her fiercely feminist first film, in which three women meet by chance in a women's clothing boutique and ritually murder its male owner; and Antonia's Line (1995), her fourth film and winner of the 1996 Oscar for Best Foreign Language Film, which traces four generations of Antonia's female 'line' in the matriarchal community she establishes in postwar rural Holland. Both have been extensively discussed, though rarely together, and appear on university syllabuses. Her second Dutch language film, Broken Mirrors (1984), and her five films in English, however, have received far less, and in some cases no critical attention. Using feminist reformulations of ideas of vulnerability and resistance, this first book-length study of her films examines their revisionings of narrative, time and space, and the possibilities they present of other narratives, other subjectivities and other relationships.
Backstage at the Dean Martin Show
This book lets you peek behind teh curtians at all the fun, friendship, a nd occasional star tantrums that went inot making this top-rated variety program.
Production Management on Location
This book is your essential companion for mastering the complexities of international documentary production. Written by an experienced production manager who has spent years on location, this book offers a rare, hands-on look at the realities of producing unscripted documentaries in diverse global settings.
Hopeful Vision
This monograph recuperates the concept of entertainment as a legitimate basis for 'small screen' criticism. It suggests that critical approaches to television might treat the text as an object of potential which actively engages and provides for aesthetic experience through entertainment. Aesthetic experience is characterised by emotion, and this study shows how the textual production of specifically forward feelings such as anticipation, aspiration, fear or dread may be mobilised and made sense of, shaping our sense of the future and its objects of hope. The argument is demonstrated by case studies arranged from 'light' to 'dark' in tone - as varied as Eurovision and Succession, The Repair Shop and The Leftovers - showing how these provide potentially significant, affecting encounters that are 'hopeful' in varying degrees and guises. Hope is adopted both as a theme of analysis and as a critical strategy of interpretation which privileges entertainment efficacy, and thus moves towards a more viewer-centric appreciation of cultural value.
Marleen Gorris
Dutch director Marleen Gorris is known chiefly for two films: A Question of Silence (1982), her fiercely feminist first film, in which three women meet by chance in a women's clothing boutique and ritually murder its male owner; and Antonia's Line (1995), her fourth film and winner of the 1996 Oscar for Best Foreign Language Film, which traces four generations of Antonia's female 'line' in the matriarchal community she establishes in postwar rural Holland. Both have been extensively discussed, though rarely together, and appear on university syllabuses. Her second Dutch language film, Broken Mirrors (1984), and her five films in English, however, have received far less, and in some cases no critical attention. Using feminist reformulations of ideas of vulnerability and resistance, this first book-length study of her films examines their revisionings of narrative, time and space, and the possibilities they present of other narratives, other subjectivities and other relationships.
A Chronology of Film
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.
How to Make a Movie
How to Make a Movie is a comprehensive guide for aspiring filmmakers, offering step-by-step instructions and expert advice on every aspect of the filmmaking process. Whether you're just starting out or looking to refine your skills, this book provides the essential tools, techniques, and insights you need to bring your cinematic vision to life. From developing your initial story concept to navigating the complexities of post-production and distribution, How to Make a Movie covers it all.The journey begins with an introduction to the basics of filmmaking, exploring the different roles involved, the various phases of production, and the essential equipment required. You'll also learn how to make a movie on a budget, making this guide accessible to filmmakers at all levels. The book then delves into the importance of story development, guiding you through the process of writing a compelling screenplay, creating engaging characters, and crafting authentic dialogue.As you move forward, How to Make a Movie helps you plan your film with chapters on storyboarding, budgeting, casting, and location scouting. You'll discover how to assemble a talented team, from working with a producer and cinematographer to building a collaborative environment on set. The book provides essential tips on pre-production, ensuring you're prepared for the challenges of directing your film, managing the cinematography and lighting, and capturing high-quality sound.In the post-production phase, How to Make a Movie guides you through the editing process, from organizing footage to adding visual effects and color grading. The book also covers marketing and distribution, offering strategies for building an online presence, designing promotional materials, and navigating film festivals. Additionally, you'll find valuable insights on independent filmmaking, including tips on crowdfunding and collaborating with other indie filmmakers.Finally, the book encourages you to evolve as a filmmaker by learning from your experiences, experimenting with new genres, and building a strong filmmaking portfolio. How to Make a Movie concludes with practical advice for staying inspired and creative in the ever-changing world of filmmaking, making it an indispensable resource for anyone passionate about bringing stories to the screen.
Paul Newman
One of America's most iconic stars, seen through the lens of six top celebrity photographers: Terry O'Neill, Eva Sereny, Al Satterwhite, Lawrence Fried, Milton Greene, and Douglas Kirkland. "Who doesn't know Paul Newman? The man with the beautiful blue eyes, the chiselled face and body, the 50-plus years of memorable acting and directing roles, the awards, the movie-star marriage. Well, it turns out, there is lots more to know." -- Parade Magazine "Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." -- Peter Sheridan, Daily Express "Hollywood Hunk Paul Newman as you've never seen him before." -- Yahoo! News "Paired with raw and unvarnished commentary from the photographers themselves, Newman's incomparable authenticity and appealing persona bleed through each page."-- Newsweek Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favorites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue Eyed Cool, gathers together portraits, stage, racing and on-set photography -- including never before seen images -- in a celebration of an actor who was always... cool. Paul Newman: Blue Eyed Cool is a must-have for fans who see in Newman's work and in his life a true hero.
At Large: Behind the Camera with Brian Large
Behind the scenes with the man responsible for filming some of the greatest classical music performances in television historyA captivating and lively memoir of a life shaped by music, At Large--Behind the Camera with Brian Large begins in the ruins of war-torn London and from there takes the reader on a riveting odyssey around the globe. Through his camera lens, Brian Large (born 1937) immortalized historical performances of the most renowned singers, dancers and musicians of the past half-century, bringing the magic of live presentations into the homes of millions. In this engaging bildungsroman, Large recounts his career with wisdom, warmth and wit, presenting intimate and revelatory glimpses of an astounding cast of characters featuring Luciano Pavarotti, Mirella Freni, Pl獺cido Domingo, Leonard Bernstein, Marilyn Horne, Igor Stravinsky, Leontyne Price, Carlos Kleiber, Birgit Nilsson, Georg Solti, Cecilia Bartoli, Benjamin Britten, Queen Elizabeth II and Frank Zappa.Originally a concert pianist, Large switched careers, joined BBCTV2 at its founding and continued to push the boundaries of what television could achieve by capturing the immediacy and emotion of the moment for viewers everywhere. His groundbreaking work includes award-winning productions such as the Centenary Ring at Bayreuth, the original Three Tenors from the Baths of Caracalla, the live broadcast of Tosca from Rome's historic sites and two decades of directing the Vienna Philharmonic's beloved New Year's Concerts. Written in collaboration with Jane Scovell, whose previous works include biographies with Elizabeth Taylor and Ginger Rogers, and a definitive biography of Oona O'Neill Chaplin, this memoir, with a foreword by Ren矇e Fleming, is a must-read for music lovers and those interested in the history of video technology.
Performing Citizenship in Postdictatorship Chile
Offering a nuanced understanding of the performing arts' relationship to politics Through careful readings of key political performances in Chile's transition from military dictatorship to neoliberal democracy, Jennifer Joan Thompson examines how the production and aesthetics of theater are intertwined in processes of democratization, enactments of citizenship, and the development of cultural policy. Performing Citizenship in Postdictatorship Chile: Cultural Policy and the Making of Political Dramaturgies reveals how artists performed changing models of democratic citizenship. Thompson traces the ways artists confronted and resisted the military dictatorship of Augusto Pinochet, how they then reimagined the body politic during the early transitional period and challenged official constructions of history and memory as the transition to democracy progressed, how they critiqued Chile's neoliberal economic model and its violence, and, finally, how they have made claims for feminist and Indigenous citizen subjectivities throughout Chile's current social crisis. Incorporating archival and ethnographic research alongside readings of theatrical and political performances, this study offers a nuanced understanding of the performing arts' relationship to politics, one that accounts for the ways artists and the state collaborate in the production of the political imagination.
God and the Devil
"Immensely insightful." The Guardian"A commanding portrait." Total Film "Indispensable . . . rich, engaging, thorough." Sight & Sound The first biography of Bergman in 40 years, containing exclusive extracts from workbooks and letters. 'Bergman's films stand alone as beacons in film history.' Wim Wenders A chronicle of the life and career of one of film's defining figures, God and the Devil draws on exclusive extracts from Bergman's diaries, letters and production workbooks. Peter Cowie brings us close to the man and the artist, as he wrestled with themes of love, sex and betrayal - with the figure of Death always hovering overhead.
Global London on Screen
Global London on screen presents a m矇lange of films by directors from the Global South and North, portraying everyday life to the more fantastical, odious, or extraordinary in terms of circumstances as captured cinematically in this superdiverse city. This book portrays a segment of such superdiversity by historicising and theorising various cinematic reproductions of London by filmmakers coming to this megacity from abroad. As visitors, cosmopolitans, or even migrant filmmakers, their treatment of London's zonal locations as both foreign and familiar is fascinating; their narratives and visualisations of London's spatial and architectural uniqueness is given a sojourners' touch; while other foreign filmmakers showcase and sometimes problematise London's socio-cultural globality and locality as both British and a city open (and sometimes closed off) to the world.
Developing 007
Since his debut on the paperback rack in 1953, Ian Fleming's James Bond 007 has become a staple of pop culture. However, fans of the films far outnumber readers of Fleming's original novels, which is a shame. If you've ever wondered how closely the films followed the books they are based on, this is the tome for you as it charts the writing process of the novels and the screenplays based upon them. In the books, you'll see Bond save London from the Moonraker rocket, battle a giant squid on the island of Dr. No, and take down the diamond-smuggling Spangled Mob outside of Las Vegas. In discarded screenplays, you'll see 007 trail Hugo Drax to Loch Ness, team with Goldfinger's twin brother to take down Blofeld, and become a SPECTRE double agent. Lastly, in addition to EON's classic productions beginning with Dr. No (1962), this book also charts the history of forgotten outliers like the 1954 Climax! live TV episode devoted to Casino Royale along with the 1967 big budget spoof starring Peter Sellers and David Niven.
Vampires in Silent Cinema
Despite the enormous cultural impact of Nosferatu (1922) on modern entertainment, the history of vampires in silent film is largely unknown. Vampires in Silent Cinema covers the subject from 1896-1931, reclaiming a large array of forgotten films from countries ranging from the United States and France to Hungary and Russia. Drawing on thousands of primary sources, Rhodes explores vampirism in all of its manifestations, from the supernatural undead to the natural vamp.
East Asian Film Remakes
This wide-ranging, historically grounded exploration of motion picture remakes produced in East Asia brings together original contributions from experts in Chinese, Hong Kong, Japanese, South Korean, and Taiwanese cinemas and puts forth new ways of thinking about the remaking process as both a critically underappreciated form of artistic expression and an economically motivated industrial practice. Exploring everything from ethnic Korean filmmaker Lee Sang-il's Unforgiven (2013), a Japanese remake of Clint Eastwood's Western of the same title, to Stephen Chow's The Mermaid (2016), a Chinese slapstick reimagining of Walt Disney's The Little Mermaid (1989) and Hans Christian Andersen's 1837 fairy tale, East Asian Film Remakes contributes to a better understanding of cinematic remaking across the region and offers vital alternatives to the Eurocentric and Hollywood-focused approaches that have thus far dominated the field.
Hong Kong Crime Films
Hong Kong Crime Films is the first book detailing the post-war history of the genre before the release of John Woo's A Better Tomorrow (1986), the film that put Hong Kong action-crime on the global map. Focusing on what it calls the mode of 'criminal realism' in the crime film, the book shows how depictions of Hong Kong's social reality (including crime) were for decades anxiously policed by colonial censors, and how crime films tended (and still tend) to confound and transgress critical definitions of realism. Drawing on extensive archival research, Hong Kong Crime Films covers several neglected topics in the study of Hong Kong cinema, such as the evolving generic landscape of the crime film prior to the 1980s, the influence of colonial film censorship on the genre, and the prominence and contestation of "realism" in the local history of the crime film.
Television/Death
Television/Death intertwines the study of death, dying and bereavement on television with discussion of the ways that television (and the TV archive) provides access to the dead. Section One looks at the representation of death, dying and the afterlife on television, in historical and contemporary factual television (from around the world) and in US television drama. Section Two focuses on dramas of grief and bereavement and discusses how the long form seriality and narrative complexity of television, from family melodramas to the ghost serial, allows for an emotionally realist representation of experiences of grief, bereavement and death-related trauma. Finally, Section Three proposes that television has been overlooked in critical analyses of recorded sounds' and images' propensity to 'bring back the dead'. It argues that television is the posthumous medium par excellence and looks at how the dead return via incorporation into new television programmes or through projects to bring television out of the archive.
Film Regulation in a Cultural Context
This book examines a sampling of cinematic works that provoked censorious impulses throughout the shift away from formal film censorship in the late modern West. The public controversies surrounding Fat Girl, Irre穫versible, Ken Park, The Brown Bunny, Wolf Creek, and Welcome to New York, each highlight significant stages in this cultural shift, which necessitated policy revision within the institutions of formal film censorship in Britain, Canada, and Australia. Parallels and distinctions are drawn between governmental film regulation policies in these countries and social control mechanisms at work within a wider network of institutions, including news media, film festivals, and advocacy groups. The study examines the means by, and ends to, which the social control of film content persists in the "post-censorship" media landscape of Britain, Canada, Australia, and the United States, and how concepts of film "classification" manifest in commercial market contexts, journalistic criticism, and practices of distribution and advertising.
Film Style in Indonesian Cinema, 1998-2018
Film Style in Indonesian Cinema, 1998-2018 investigates the role of film style during the rebirth of Indonesian cinema following the collapse of General Suharto's New Order regime. Purnama argues that the renewal of Indonesian cinema was influenced by filmmakers who revamped the cinematic images of Indonesian film by foregrounding visual stylisation using cinematography and production design techniques. They transformed the aesthetic of Indonesian film to become stylistically complex with a pronounced degree of visual sophistication, offering local audiences pictorially appealing and engaging cinematic experiences.Through a close analysis of lighting, production design, and camera movement in contemporary films such as Sang Pencerah, Laskar Pelangi, and The Raid: Redemption, Purnama highlights the significance of film style and the art of film-making to the cinematographers and production designers who revitalised Indonesian cinema in the 21st Century.
Iconoclasm in European Cinema
Exploring anti-mimesis and image destruction in Western European films, Iconoclasm in European Cinema: The Ethics and Aesthetics of Image Destruction offers the first comprehensive study of philosophical iconoclasm in cinema. Drawing on continental philosophy of the image, medieval theology and recent developments in film ethics, it investigates the aesthetic and ethical significance of destroying certain film images, both literally (via damages to the filmstrip) and metaphorically (through blank screens, altered motion and disruptive sounds). Analysing the work of various filmmakers, the book considers iconoclastic gestures against the film image's ability to mimetically represent contents on the verge of the invisible and the ineffable. This book demonstrates that the overlooked issue of iconoclasm in film is essential for understanding contemporary attitudes towards images and argues that cinematic iconoclasm can encourage an ethics of (in)visibility by questioning the limits of our right to see and show something on a screen.
Animals and Greek Cinema
This book offers a non-anthropocentric account of a national cinema. Drawing on cutting-edge developments in Animal (film) studies, the book gathers a wide range of species and genres to discuss the Greek cinematic animal. This en-tails recalibrating the readers'/viewers' gazes to include particular nonhumans, often displaced in the frame's margins. While acknowledging the cost paid in animal suffering for Greek cinema to rise, the book features instances of animal-human bonding. Combining close readings with interviews with directors, human actors, screenwriters, cinematographers, producers, special effects artists, and animal wranglers, this book proposes a paradigm of human-animal praxis, arguing that revisiting nonhuman images can lead to renewed ethical relations, and to less speciesist cinemas, film industries, and societies..
Long Take
A multifaceted portrait of the great Japanese director For years, Akira Kurosawa resisted writing about himself. "It would turn out to be nothing but talk about movies," he said. "In other words, take myself, subtract movies, and the result is zero." The memoir he finally started serializing in 1978, Something like an Autobiography, ended with Rashomon, the film that launched him on the world's stage in 1950. Long Take, first published in Japan shortly after Kurosawa's death in 1998, at last tells the story of the rest of his life. By turns intimate, provocative, and revealing, Long Take creates a dynamic portrait of Kurosawa from his own writings; his conversations with writer Inoue Hisashi and director Yamada Yōji; and essays by his daughter and colleague Kurosawa Kazuko, who details the collaborative history of the "Kurosawa crew." It features a wealth of industry lore, cultural reference points, inside jokes with other filmmakers and writers, and backstories for his own productions, from the earliest to the last. Of particular interest to all cinephiles is an annotated list of Kurosawa's 100 favorite films. A survey of Kurosawa's prodigious career, this book situates the visionary in the media milieu of his youth, in the literature and performing arts of twentieth-century Japan and Hollywood, and among the myriad films he loved, admired, and referenced, including Japanese silent film and comedy as well as productions from India, Iran, and Soviet-era Russia. Now available to English readers for the first time, Long Take offers a lasting picture of the peerless filmmaker in his element.
