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UPTC
2013 | ISBN: 1444337246 | English | 592 Pages | PDF | 7.55 MB
Broad in scope, this interdisciplinary collection of original scholarship on historical film features essays that explore the many facets of this expanding field and provide a platform for promising avenues of research. Offers a unique collection of cutting edge research that questions the intention behind and influence of historical film Essays range in scope from inclusive broad-ranging subjects such as political contexts, to focused assessments of individual films and auteurs Prefaced with an introductory survey of the field by its two distinguished editors Features interdisciplinary contributions from scholars in the fields of History, Film Studies, Anthropology, and Cultural and Literary Studies
UPTC
English | 2012 | ISBN: 1405194367 | 618 pages | PDF | 4 MB
A Companion to German Cinema offers a wide-ranging collection of essays demonstrating state-of-play scholarship on German cinema at a time during which cinema studies as well as German cinema have once again begun to flourish. • Offers a careful combination of theoretical rigor, conceptual accessibility, and intellectual inclusiveness • Includes essays by well-known writers as well as up-and-coming scholars who take innovative critical approaches to both time-honored and emergent areas in the field, especially regarding race, gender, sexuality, and (trans)nationalism • Distinctive for its contemporary relevance, reorienting the field to the global twenty-first century • Fills critical gaps in the extant scholarship, opening the field onto new terrains of critical engagement
UPTC
English | 2013 | ISBN: 1444336274 | 544 pages | PDF | 4,7 MB
An authoritative companion that offers a wide-ranging thematic survey of this enduringly popular cultural form and includes scholarship from both established and emerging scholars as well as analysis of film noir's influence on other media including television and graphic novels. • Covers a wealth of new approaches to film noir and neo-noir that explore issues ranging from conceptualization to cross-media influences • Features chapters exploring the wider ‘noir mediascape’ of television, graphic novels and radio • Reflects the historical and geographical reach of film noir, from the 1920s to the present and in a variety of national cinemas • Includes contributions from both established and emerging scholars
UPTC
Former "Chicago Reader" chief film critic Jonathan Rosenbaum has dedicated much of his career to an exploration of the work of America's greatest - and most misunderstood - filmmaker, editing the book of interviews "This is Orson Welles", contributing to the most recent re-edit of TOUCH OF EVIL, transalting an Andre Bazin book on Welles into English, etc. He had the fortune to meet the director once himself, as a young critic, in Paris in the early 1970s, and that brief meeting has repercussions and echoes that appear throughout this, his first collection of essays devoted entirely to Welles. Most of the material gathered here is previously published, though much of it is heavily re-edited and re-worked to form something of a chronological history of Rosenbaum's own relationship to Welles, his work, and other Welles writers and scholars. The earliest piece is a rebuttal to Pauline Kael's "Raising Kane", from 1971; the most recent, an edited transcript of a lecture from 2005. Rosenbaum concentrates, rightly in my mind, on lesser-known and mostly later portions of Welles' career, from unfinished works like THE OTHER SIDE OF THE WIND, DON QUIXOTE and THE DEEP to completed but obscure major creations such as FILMING 'OTHELLO' and THE FOUNTAIN OF YOUTH. He's at his best in his lengthy explorations of such minutiae as the many different version of MR. ARKADIN; and he's not at his best when being occasionally petty in slamming other critics or writers. Then again, the conventional wisdom on Welles as argued over the years by people like Kael and Robert Carringer is that he was a one-hit wonder and a profligate who wasted his talent; if people like Jonathan Rosenbaum occasionally feel the need to get their dander up in indignantly arguing the obvious - that this was a filmmaker of prodigious talent who managed, against all odds, to keep doing great work under the most difficult of circumstance, should we blame them? Very little of the book is spent on Welles' acting or radio careers - Rosenbaum's focus is on the director, not on his other endeavors (or his personal life for that matter). A reasonably thorough and up-to-date (2007) appendix on the state of Welles' films and their availability closes out this terrific book, essential to the serious Wellesian.
UPTC
Citizen Kane is arguably the most admired and significant film since the advent of talking pictures. No other film is quite so interesting from both artistic and political points of view. To study it even briefly is to learn a great deal about American history, motion-picture style, and the literary aspects of motion-picture scripts. Rather than presenting a sterile display of critical methodologies, James Naremore has gathered a set of essays that represent the essential writings on the film. It gives the reader a lively set of critical interpretations, together with the necessary production information, historical background, and technical understanding to comprehend the film's larger cultural significance. Selections range from the anecdotal -Peter Bogdanovich's interview with Orson Welles-to the critical, with discussions on the scripts and sound track, and a discussion of what accounts for the film's enduring popularity. Contributors include James Naremore, Peter Bogdanovich, Jonathan Rosenbaum, Robert L. Carringer, Fran�ois Thomas, Michael Denning, Laura Mulvey, Peter Wollen, and Paul Arthur.
UPTC
“Para todos los cinéfilos que alcanzaron la mayoría de edad cinematográfica en 1946–dijo una vez André Bazin--, el nombre de Orson Welles se identifica con el entusiasmo por el redescubrimiento del cine americano. Más aún, resume la convicción, compartida por toda la joven crítica de entonces, de estar asistiend o a un renacimiento y una revolución del arte hollywoodiense.”Estas palabras se refieren al estreno en París de Ciudadano Kane, cuando Bazin no era más que un joven y prometedor crítico. Pero lo cierto es que Welles ejerció un influjo similar en gran cantidad de aficionados de cualquier nacionalidad, sobre todo por su condición de director también joven, atrevido, brillante y progresivamente marginado por la conservadora industria hollywodiense. Uno de los autores más innovadores del cine americano de posguerra se estaba convirtiendo en una leyenda.Por su parte, Bazin conservó intacta su admiración por Welles, hasta el punto de dedicarle su primer libro. Poco antes de morir, en 1958, preparaba una segunda edición revisada y aumentada. Y es ésta la que recoge el presente libro, con un prefacio de André S. Labarthe y un texto escrito en 1978 por François Truffaut, con ocasión de la aparición del libro en Estados Unidos.
UPTC
One of the most accomplished writers and directors of classic Hollywood, Billy Wilder (1906--2002) directed numerous acclaimed films, including Sunset Boulevard (1950), Sabrina (1954), The Seven Year Itch (1955), Witness for the Prosecution (1957), and Some Like It Hot (1959). Featuring Gene D. Phillips's unique, in-depth critical approach, Some Like It Wilder: The Life and Controversial Films of Billy Wilder provides a groundbreaking overview of a filmmaking icon. Wilder began his career as a screenwriter in Berlin but, because of his Jewish heritage, sought refuge in America when Germany came under Nazi control. Making fast connections in Hollywood, Wilder immediately made the jump from screenwriter to director. His classic films Five Graves to Cairo (1943), Double Indemnity (1945), and The Lost Weekend (1945) earned Academy Awards for best picture, director, and screenplay. During the 1960s, Wilder continued to direct and produce controversial comedies, including Kiss Me, Stupid (1964) and The Apartment (1960), which won Oscars for best picture and director. This definitive biography reveals that Wilder was, and remains, one of the most influential directors in filmmaking.
UPTC
Orson Welles, in full George Orson Welles (born May 6, 1915, Kenosha, Wisconsin, U.S.—died October 10, 1985, Los Angeles), American motion-picture actor, director, producer, and writer. His innovative narrative techniques and use of photography, dramatic lighting, and music to further the dramatic line and to create mood combined to make his Citizen Kane (1941)—which he wrote, directed, produced, and acted in—one of the most influential films in the history of the art.
UPTC
Stanley Kubrick, (born July 26, 1928, New York, New York, U.S.—died March 7, 1999, Childwickbury Manor, near St. Albans, Hertfordshire, England), American motion-picture director and writer whose films are characterized by a cool, formal visual style, meticulous attention to detail, and a detached, often ironic pessimism. Chicago Theatre [Credit: Stanley Kubrick—Look/Library of Congress, Washington, D.C. (LC-USZ6-2346)]Kubrick, Stanley [Credit: Stanley Kubrick—Look/Library of Congress, Washington, D.C. (LC-USZ6-2352)]Having become interested in photography in high school, Kubrick became a staff photographer for Look magazine at age 17. His first film, The Day of the Fight (1951), is a short documentary about the boxing world. His first feature-length film, Fear and Desire (1953), dealt with World War II.
UPTC
2004 | 336 Pages | ISBN: 0240806174 | PDF | 8 MB
"This is a brilliant book, which is so comprehensive that it certainly deserved to have the word "Encyclopaedia" somewhere in its title...It would be enormously useful to anyone wanting to know about the cinema industry...Understading Digital Cinema is an excellent book, well worth a place on the bookshelf of anyone who wants a better understanding of the cinema business as it moves into the digital age." - Cinema Technology magazine "The author has researched over a wide range of topics, and as such has the defintive guide to digital cinema as it stands today...it is an extremely well-researched and comprehensive guide." - British Cinematographer "Understanding Digital Cinema is comprehensive, thorough and required reading for the film professional who wishes to be prepared for the cinema of the 21st Century." - Film Festival Today
UPTC
02-2012 | 259 Pages | ISBN: 190895549X | PDF | 239,2 MB | English
Note: Metropolis, Forbidden Planet, Planet Of The Apes, Logan's Run, Star Wars Episode IV: A New Hope, Close Encounters Of The Third Kind and more...
UPTC
Variously described as a work of genius, a pretentious wreck, a crucially important film, and a victim of its director's ego, among other things, It's All True, shot in Mexico and Brazil between 1941 and 1942, is the legendary movie that Orson Welles never got to finish. In this book, the most comprehensive and authoritative assessment of It's All True available, Catherine Benamou synthesizes a wealth of new and little-known source material gathered on two continents, including interviews with key participants, to present a compelling original view of the film and its historical significance. Her book challenges much received wisdom about Orson Welles and illuminates the unique place he occupies in American culture, broadly defined.
UPTC
Orson Welles and the Unfinished RKO Projects: A Postmodern Perspective traces the impact of legendary director Orson Welles on contemporary mass media entertainment and suggests that, ironically, we can see Welles’s performance genealogy most clearly in his unfinished RKO projects. Author Marguerite H. Rippy provides the first in-depth examination of early film and radio projects shelved by RKO or by Welles himself. While previous studies of Welles largely fall into the categories of biography or modernist film studies, this book extends the understanding of Welles via postmodern narrative theory and performance analysis, weaving his work into the cultural and commercial background of its production. By identifying the RKO years as a critical moment in performance history, Rippy synthesizes scholarship that until now has been scattered among film studies, narrative theory, feminist critique, American studies, and biography. Building a bridge between auteur and postmodern theories, Orson Welles and the Unfinished RKO Projects offers a fresh look at Welles in his full complexity. Rippy trains a postmodern lens on Welles’s early projects and reveals four emerging narrative modes that came to define his work: deconstructions of the first-person singular
UPTC
Before turning to filmmaking, Francois Truffaut was a film critic writing for Cahiers du Cinema during the 1950s. The Early film Criticism of Francois Truffaut makes available, for the first time in English, articles that originally appeared in French journals such as Cahiers du Cinema and Arts. Truffaut discusses films by such acknowledged masters as Hitchcock, Huston, Dymytryk, and Lang, but also examines the work of such lesser-known directors as Robert Wise, Don Weis, and Roger Vadim.
UPTC
One is ravished by the density of insights into cinematic questions...Truffaut performed a tour de force of tact in getting this ordinarily guarded man to open up as he had never done before (and never would again)...If the 1967 HitchcockTruffaut can now be seen as something of a classic, this revised version is even better. Phillip Lopate The New York Times Book Review
UPTC
Resultado de una larga conversación de cincuenta horas preparada sobre un cuestionario de quinientas preguntas, El cine según Hitchcock -aclaraba François Truffaut- es «un libro del que no me considero autor, sino tan sólo iniciador o, mejor aún, provocador». A lo largo de sus páginas, las circunstancias que rodearon el nacimiento de cada film, la elaboración de los guiones, los problemas de la puesta en escena y la valoración del resultado comercial de las películas nutren el apasionante diálogo que sostienen en él ambos realizadores.
UPTC
The 34 essays of this collection by leading international scholars reassess Truffaut's impact on cinema as they locate the unique quality of his thematic obsessions and his remarkable narrative techniques. Almost 30 years after his death, we are presented with strikingly original perspectives on his background, influences, and importance.Bridges a gap in film scholarship with a series of 34 original essays by leading film scholars that assess the lasting impact of Truffaut’s work Provides striking new readings of individual films, and new perspectives on Truffaut’s background, influences, and importance Offers a wide choice of critical perspectives ranging from current reflections in film theories to articles applying methodologies that have recently been neglected or considered controversial Includes international viewpoints from a range of European countries, and from Japan, New Zealand, and Brazil Draws on Truffaut’s archives at the BiFI (Bibliotheque du film) in Paris Includes an extended interview with French filmmaker Arnaud Desplechin concerning Truffaut’s shifting stature in French film culture and his manner of thought and work as a director Content: Chapter 1 Interview with Arnaud Desplechin, Part I (pages 1–22): Anne Gillain and Dudley Andrew Chapter 2 Truffaut and His “Doubles” (pages 23–70): Martin Lefebvre Chapter 3 Aesthetic Affinities (pages 71–104): Anne Gillain Chapter 4 Interview with Arnaud Desplechin, Part II (pages 105–123): Anne Gillain and Dudley Andrew Chapter 5 Flashes of Happiness (pages 125–136): Alain Bergala Chapter 6 Truffaut and the Photographic (pages 137–152): Junji Hori Chapter 7 The Impasse of Intimacy (pages 153–172): John Orr Chapter 8 A Fine Madness (pages 173–183): Francis Vanoye Chapter 9 The Ecstatic Pan (pages 184–204): Phil Powrie Chapter 10 The Untimely Moment and the Correct Distance (pages 205–217): Adrian Martin Chapter 11 Every Teacher Needs a Truant (pages 219–241): Dudley Andrew Chapter 12 Certain Tendencies of Truffaut's Film Criticism (pages 242–264): Richard Neupert Chapter 13 Truffaut–Hitchcock (pages 265–282): Jonathan Everett Haynes Chapter 14 The Paradox of “Familiarity” (pages 283–299): Ludovic Cortade Chapter 15 Cain and Abel (pages 300–316): Michel Marie Chapter 16 Friction, Failure, and Fire (pages 317–331): Timothy Corrigan Chapter 17 Growing Up with the French New Wave (pages 333–355): James Tweedie Chapter 18 Bad Objects (pages 356–374): Sam Di Iorio Chapter 19 Between Renoir and Hitchcock (pages 375–387): Ginette Vincendeau Chapter 20 Truffaut in the Mirror of Japan (pages 388–400): Kan Nozaki Chapter 21 Directing Children (pages 401–419): Angela Dalle Vacche Chapter 22 Jules et Jim … et Walter Benjamin (pages 420–433): Dudley Andrew Chapter 23 Digging Up the Past (pages 434–447): Elizabeth Ezra Chapter 24 The Elevator and the Telephone (pages 448–453): Michel Chion Chapter 25 La Peau douce (pages 454–468): Tom Conley Chapter 26 La Peau douce (pages 469–488): Hilary Radner Chapter 27 An Unsettling Passage (pages 489–506): Carlos Losilla Chapter 28 The Structural Role of Intervals in L'Argent de Poche (pages 507–516): Alain Bergala Chapter 29 To Die or to Love (pages 517–529): Luiza Jatoba Chapter 30 Film as Literature (pages 530–545): Lucia Nagib Chapter 31 The Elegist (pages 546–560): Philip Watts Chapter 32 La Chambre verte and the Beating Heart of Truffaut's Oeuvre (pages 561–570): Francoise Zamour Chapter 33 Le Dernier Metro (pages 571–583): Jean?Michel Frodon Chapter 34 Disillusionment and Magic in La Nuit americaine and Le Dernier Metro (pages 584–593): Marc Vernet
UPTC
François Truffaut (1932-1984), perhaps the most respected member of the New Wave group of French moviemakers, left a legacy of beloved and influential films that include The 400 Blows, Jules and Jim, Stolen Kisses, Day for Night, and The Story of Adele H. Equally fascinating is the very large body of film criticism Truffaut wrote over many years for Cahiers du Cinema and other leading film journals. Wonderfully varied, personal, and informal, these reviews all communicate unabashed love for and an enormous excitement about the movies. The Films in My Life is Truffaut’s own selection of more than one hundred essays that range widely over the history of film and pay tribute to Truffaut’s particular heroes, among them Hitchcock, Welles, Chaplin, Renoir, Cocteau, Bergman, and Buñuel.
UPTC
(French Edition) François Truffaut (1932-1984), perhaps the most respected member of the New Wave group of French moviemakers, left a legacy of beloved and influential films that include The 400 Blows, Jules and Jim, Stolen Kisses, Day for Night, and The Story of Adele H. Equally fascinating is the very large body of film criticism Truffaut wrote over many years for Cahiers du Cinema and other leading film journals. Wonderfully varied, personal, and informal, these reviews all communicate unabashed love for and an enormous excitement about the movies. The Films in My Life is Truffaut’s own selection of more than one hundred essays that range widely over the history of film and pay tribute to Truffaut’s particular heroes, among them Hitchcock, Welles, Chaplin, Renoir, Cocteau, Bergman, and Buñuel.-
UPTC
1990 | 116 Pages | ISBN: 0195849507 | PDF | 2 MB
Donald Richie, whose earlier works have done so much to introduce Japanese cinema to the West, has here written the first introduction to Japanese film. Written in a highly accessible style, this up-to-date history offers a study of those qualities which make a film distinctly Japanese. It will be an invaluable resource to students of film appreciation, as well as to readers with an interest in Japan.
UPTC
ISBN: 0061014087 | 2011 | EPUB | 592 pages | 6 MB
Ellis Amburn's magnificent biography of the Academy Award®-winning actress and legendary beauty captures the unparalleled Elizabeth in all her tragedy and splendor--her tumultuous loves, her doomed affections, her shocking excesses, her courage, and her inimitable style. Filled with stunning revelations about the men in her life--Burton, Clift, Hilton, Dean, Fisher--it is a glorious celebration of the turbulent life of a brilliant star that none in Hollywood or heaven could ever outshine.
UPTC
2001 | 272 Pages | ISBN: 0521596475 , 0521593727 | PDF | 16 MB
This study examines one of the most enduring and popular genres of Hollywood cinema, suggesting how the science fiction film reflects attitudes toward science, technology, and reason as they have evolved in American culture over the course of the 20th century. Telotte provides a survey of criticism and an overview of the history of the genre, from its earliest literary manifestations to the present. He offers in-depth readings of three key films;Robocop, Close Encounters of the Third Kind, and THX 1138, each of which typifies a particular form of science fiction fantasy.
UPTC
2006 | 272 Pages | ISBN: 1850437599 , 1850438862 | PDF | 2 MB
Studies of religion and film have long been dominated by the question of a film's fidelity to a religious text or worldview, or its value as a tool in ministry and mission. Religion and Film seeks to redress this balance, and will have strong appeal to students as well as general readers interested in all aspects of the inter-relationship of religion and the cinema. Drawing on cultural studies approaches, and focusing on such films as La Passion de Jeanne D'Arc, Lagaan, My Son the Fanatic, The Wicker Man and The Passion of the Christ, Melanie Wright looks at varied screen representations of religion; at films shaped by strong convictions about the place of religion in society; and at the roles that people play as consumers of film.
UPTC
2007 | 304 Pages | ISBN: 0813540232 , 0813540224 | PDF | 2 MB
A smug glance at the seventies--the so-called "Me Decade"--unveils a kaleidoscope of big hair, blaring music, and broken politics--all easy targets for satire, cynicism, and ultimately even nostalgia. American Cinema of the 1970s, however, looks beyond the strobe lights to reveal how profoundly the seventies have influenced American life and how the films of that decade represent a peak moment in cinema history. Far from a placid era, the seventies was a decade of social upheavals. Events such as the killing of students at Kent State and Jackson State universities, the Watergate investigations, the legalization of abortion, and the end of the American involvement in Vietnam are only a few among the many landmark occurrences that challenged the foundations of American culture. The director-driven movies of this era reflect this turmoil, experimenting with narrative structures, offering a gallery of scruffy antiheroes, and revising traditional genre conventions. Bringing together ten original essays, American Cinema of the 1970s examines the range of films that marked the decade, including Jaws, Rocky, Love Story, Shaft, Dirty Harry, The Godfather, Deliverance, The Exorcist, Shampoo, Taxi Driver, Star Wars, Saturday Night Fever, Kramer vs. Kramer, and Apocalypse Now.
UPTC
1971 | 261 Pages | ISBN: 0385094418 | PDF | 16 MB
This book makes Japanes movies accessible to Western audiences. It is a succinct history of Japanese film through 1970 as well as an exploration of Japanese culture. The book is comprehensive and discusses both well-known classics and popular films. The author does a good job of establishing the historical basis for the important post-war films. The book includes numerous stills from over 75 films, and a great appendix are great tools for building a film buffs must-see list!
UPTC
2011 | 2157 Pages | ISBN: 1405179848 | PDF | 16 MB
Comprising over 90 essays and richly illustrated with over 200 images, the Wiley-Blackwell History of American Film provides a chronological portrait of American film history from its origins to the present day. Taken as a whole, the essays in this collection represent a comprehensive and nuanced overview of American film history from the intersecting perspectives of industry, audiences, aesthetics, culture, politics, issues, and ideology. Unabashedly ambitious, deeply historical, and unprecedented in its multi-faceted examination of film history, this collection offers you: Over 90 original essays written by an international cast of film scholars Discussions of the industrial and institutional components of film history, including multiple modes of production, distribution, and marketing Investigations into the political, social, and economic factors that informed industry change and framed the reception of films Engaging close readings and in-depth analysis of canonical and non-canonical films Profiles of essential industry figures - major directors, stars, and producers - along with important figures outside the industrial mainstream An exploration of the history of film criticism and culture, and central issues in American film historiography The most authoritative collection of fresh investigations available in one state-of-the-art resource
UPTC
2010 | 256 Pages | ISBN: 0061774154 | EPUB | 2 MB
Wasson, who wrote on the career of writer-director Blake Edwards in A Splurch in the Kisser, tightens his focus for a closeup of Edwards's memorable Breakfast at Tiffany's, which received five Oscar nominations (with two wins). Interviewing Edwards and others, he skillfully interweaves key events during the making of this cinema classic. He begins (and ends) with Truman Capote, whose novel was initially regarded as unadaptable by the producers, since they hadn't the faintest idea how the hell they were going to take a novel with no second act, a nameless gay protagonist, a motiveless drama, and an unhappy ending and turn it into a Hollywood movie. The flow of Wasson's words carries the reader from pre-production to on-set feuds and conflicts, while also noting Hepburn's impact on fashion (Givenchy's little black dress), Hollywood glamour, sexual politics, and the new morality. Always stingy with praise, Capote dismissed the finished film as a mawkish valentine to New York City, but one feels he would have been entranced by Wasson's prismatic approach as he walks a perilous path between the analytic interpretation and the imaginative one. The result deserves Capote's nonfiction novel label. Recapturing an era, this evocative factual re-creation reads like carefully crafted fiction.
UPTC
English | ISBN: 0240801083 | edition 1992 | PDF | 208 pages | 23,4 mb
Many different kinds of effects are covered, including chemicals, pyrotechnics, weapons, levitation and weather. Written by a recognized expert in the field, this book contains over 200 illustrations and diagrams providing in depth coverage of every detail. Case studies and a "behind the scenes" look at the 'The Fisher King' are included
UPTC
Publisher: Chicago Review Pr | 2008 | ISBN: 1556527705 | English | PDF | 352 pages | 15.3 Mb
Zombie Movies is an essential purchase for all those who love (or fear) horror cinema’s most popular and terrifying creation. This thorough and authoritative yet uproarious guide ... • reviews and rates nearly 300 zombie films—from Bela Lugosi’s White Zombie (1932) to George A. Romero’s Diary of the Dead (2008) • traces the evolution of the zombie over the decades, from voodoo slave to brain-eating undead to raging infected • lays out what makes a zombie a zombie, as opposed to a ghost, ghoul, vampire, mummy, pod person, rabid sicko, or Frankenstein’s monster • includes a detailed and chilling journal from the filming of Land of the Dead • lists the oddest and most gruesome things ever seen in undead cinema • covers not only mainstream American movies but also small independent productions, Spanish and Italian exploitation pictures, and bizarre offerings from Japan and Hong Kong • provides a detailed rundown of the 25 greatest zombie films ever made • features in-depth interviews with actors, directors, makeup effects wizards, and other zombie experts For serious fans and casual moviegoers alike, Zombie Movies will provide plenty of informative and entertaining brain food.
UPTC
2011 | 358 Pages | ISBN: 029928154X | PDF | 56 MB
Glenn Ford—star of such now-classic films as Gilda, Blackboard Jungle, The Big Heat, 3:10 to Yuma, and The Rounders—had rugged good looks, a long and successful career, and a glamorous Hollywood life. Yet the man who could be accessible and charming on screen retreated to a deeply private world he created behind closed doors. Glenn Ford: A Life chronicles the volatile life, relationships, and career of the renowned actor, beginning with his move from Canada to California and his initial discovery of theater. It follows Ford’s career in diverse media—from film to television to radio—and shows how Ford shifted effortlessly between genres, playing major roles in dramas, noir, westerns, and romances. This biography by Glenn Ford’s son, Peter Ford, offers an intimate view of a star’s private and public life. Included are exclusive interviews with family, friends, and professional associates, and snippets from the Ford family collection of diaries, letters, audiotapes, unpublished interviews, and rare candid photos. This biography tells a cautionary tale of Glenn Ford’s relentless infidelities and long, slow fade-out, but it also embraces his talent-driven career. The result is an authentic Hollywood story that isn’t afraid to reveal the truth.
UPTC
English | October 1, 2005 | ISBN-10: 0262532778 | 466 pages | PDF | 10.9 Mb
Winner, Jackets and Covers Category, 2004 Association of American University Presses (AAUP) Book, Jacket, and Journal Show. It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don't quite align with reality. What is it that cinema does? Cubitt proposes a history of images in motion from a digital perspective, for a digital audience. From the viewpoint of art history, an image is discrete, still. How can a moving image—constructed from countless constituent images—even be considered an image? And where in time is an image in motion located? Cubitt traces the complementary histories of two forms of the image/motion relationship—the stillness of the image combined with the motion of the body (exemplified by what Cubitt calls the "protocinema of railway travel") and the movement of the image combined with the stillness of the body (exemplified by melodrama and the magic lantern). He argues that the magic of cinema arises from the intertwining relations between different kinds of movement, different kinds of time, and different kinds of space.
UPTC
2010 | 320 Pages | ISBN: 1848852622 , 1848851510 | PDF | 3 MB
In his landmark Introduction to the American Horror Film, Robin Wood noted that horror "has consistently been one of the most popular and, at the same time, the most disreputable of Hollywood genres." Horror is still immensely popular but its assimilation into our culture continues apace. In Horror Zone, leading international writers on horror take horror out into the world beyond cinema screens to explore the interconnections between the films and modern media and entertainment industries, economies and production practices, cultural and political forums, spectators and fans. They critically examine the ways in which the horror genre functions in all its multifarious forms, for example the Friday the 13th films as modern grand guignol, the relationship between the contemporary horror film and the theme park ride, horror as art house cinema, connections between pornography and the horror film and the place of special effects in this most respectable of Hollywood genres.
UPTC
Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cin?ma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the prot?g? of Fran?ois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."
UPTC
Andre Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cin?ma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the prot?g? of Fran?ois Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."
UPTC
Published: 2012-03-06 | ISBN: 1449410251 | EPUB + MOBI | 384 pages | 3 MB
More scathing than a thumbs down, more inflamed than burning film in an overheated projector—such are the reviews that Roger Ebert has penned about bad movies. Collected here are more than 200 of his most biting, sarcastic, and funny critiques, selected from those unlucky movies that garnered a rating of a mere two stars or fewer. Roger Ebert's I Hated, Hated, Hated This Movie and Your Movie Sucks, which gathered some of his most scathing reviews, were best-sellers. This new collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel. A Horrible Experience of Unbearable Length collects more than 200 of his reviews since 2006 in which he gave movies two stars or fewer. Known for his fair-minded and well-written film reviews, Roger is at his razor-sharp humorous best when skewering bad movies. Consider this opener for the one-star Your Highness: "Your Highness is a juvenile excrescence that feels like the work of 11-year-old boys in love with dungeons, dragons, warrior women, pot, boobs, and four-letter words. That this is the work of David Gordon Green beggars the imagination. One of its heroes wears the penis of a minotaur on a string around his neck. I hate it when that happens." And finally, the inspiration for the title of this book, the one-star Transformers: Revenge of the Fallen: Transformers: Revenge of the Fallen is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments. One of these involves a doglike robot humping the leg of the heroine. If you want to save yourself the ticket price go, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination." Movie buffs and humor lovers alike will relish this treasury of movies so bad that you may just want to see them for a good laugh!
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English | ISBN: 1781570019 | 2012 | PDF | 176 pages | 76 MB
Explore a world of cool, quirky, and collectable vintage cameras. The huge growth of sales in Lomography-style plastic-lens cameras shows that interest in, and love of, cheap, fun, cameras has never been stronger. But the few models that are still manufactured are only the tip of the iceberg, with hundreds of amazing, exciting, weird and wonderful cameras widely available at yard sales, thrift stores and online. This book is the first to look at every significant peoples camera launched since Kodak Box Brownie brought cameras to the masses in 1908and some cool gadgets tooproviding a fascinating insight into the tastes of previous generations. Not only that, but each featured camera is accompanied by rare original promotional materials, so you can see exactly what its manufacturers, or Madison Avenue, made of the latest camera in its day (and learn a bit about your grandfathers world!).
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2012 | 704 Pages | ISBN: 1444330292 | PDF | 12 MB
A Companion to Chinese Cinema is a collection of original essays written by experts in a range of disciplines that provide a comprehensive overview of the evolution and current state of Chinese cinema. Represents the most comprehensive coverage of Chinese cinema to date Applies a multidisciplinary approach that maps the expanding field of Chinese cinema in bold and definitive ways Draws attention to previously neglected areas such as diasporic filmmaking, independent documentary, film styles and techniques, queer aesthetics, star studies, film and other arts or media Features several chapters that explore China’s new market economy, government policy, and industry practice, placing the intricate relationship between film and politics in a historical and international context Includes overviews of Chinese film studies in Chinese and English publications
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Published: 2011-01-16 | ISBN: 1589795660 | PDF | 194 pages | 3 MB
With crisp dialog, outrageous characters, and an absurd sense of humor, it's no wonder British sitcoms are so well-loved! Best of the Britcoms covers the most noteworthy situation comedies ever to cross the pond. Each entry combines a show summary with descriptions of standout episodes and behind-the-scenes details, plus gives you production data and full cast listings. And now, the revised edition of this Britcom classic contains seven new chapters on programs that have aired in the U.S. since the original edition was published, such as The Office, Extras, and My Family. Fans of old-school Britcoms won't be disappointed either, as the revised edition also includes the later developments of older series' storylines and detailed information on specials and cast reunions that have occurred in the intervening years. Pick up this book, kick back, and get to know a Britcom!
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2008 | 272 Pages | ISBN: 1845115317 | PDF | 4 MB
Cultural critic and historian Hamid Dabashi draws from his friendship with Makhmalbaf, as well as his intense involvement with Makhmalbaf's films and thought, to present a deeply engaging examination of the tumultuous life and spectacular career of this great filmmaker. His films, from The Street Vendor and Time of Love, to Hello Cinema, Gabbeh, The Silence and Kandahar are always surprising and confound conventional genres. They both represent and take part in his own journey, in ways which Dabashi explores with great insight. Makhmalbaf's cinematic career started in Iran and has since expanded into Turkey, Tajikistan, Afghanistan, Pakistan, India and into Europe. Dabashi uncovers how, moving across boundaries, Makhmalbaf's creative genius can throw light on our contemporary predicament, with headlines that posit 'Islam and the West' illustrating the dangerous delusion of a world at war with itself.
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2007 | 684 Pages | ISBN: 0786431040 | EPUB + MOBI | 4 MB + 12 MB
The seventies were a decade of groundbreaking horror films: The Exorcist, Carrie, and Halloween were three. This detailed filmography covers these and 225 more. Section One provides an introduction and a brief history of the decade. Beginning with 1970 and proceeding chronologically by year of its release in the United States, Section Two offers an entry for each film. Each entry includes several categories of information: Critical Reception (sampling both '70s and later reviews), Cast and Credits, P.O.V., (quoting a person pertinent to that film's production), Synopsis (summarizing the film's story), Commentary (analyzing the film from Muir's perspective), Legacy (noting the rank of especially worthy '70s films in the horror pantheon of decades following). Section Three contains a conclusion and these five appendices: horror film cliches of the 1970s, frequently appearing performers, memorable movie ads, recommended films that illustrate how 1970s horror films continue to impact the industry, and the 15 best genre films of the decade as chosen by Muir.
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ISBN: 0316117919 | 2007 | EPUB/MOBI | 320 pages | 15 MB/16 MB
A gorgeous, lavish history of silent movies - with more than 400 amazing images - captures the birth of film and icons like Chaplin, Garbo, Clara Bow, and Valentino. Drawing on the extraordinary collection of The Library of Congress, one of the greatest repositories for silent film and memorabilia, Peter Kobel has created the definitive visual history of silent film. From its birth in the 1890s, with the earliest narrative shorts, through the brilliant full-length features of the 1920s, SILENT MOVIES captures the greatest directors and actors and their immortal films. SILENT MOVIES also looks at the technology of early film, the use of color photography, and the restoration work being spearheaded by some of west Hollywood's most important directors, such as Martin Scorsese and Francis Ford Coppola. Richly illustrated from the Library of Congress's extensive collection of posters, paper prints, film stills, and memorabilia-most of which have never been in print-SILENT MOVIES is an important work of history that will also be a sought-after gift book for all lovers of film.
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2009 | 192 Pages | ISBN: 1900486660 | EPUB + MOBI | 7 MB + 8 MB
From trashy horror films to grisly comic art; from lurid movie magazines to late-night creature features; from campy monster toys to exploitive poster art; Trashfiend takes a loving look at the whole of "disposable" horror culture from the 1960s and 1970s. Scott Stine, author of The Gorehound's Guides to Splatter Films, is back with this book, which picks up where his self-published Trashfiend magazine left off. Packed with film reviews, trivia, rare illustrations, exhaustive technical information, and written with a humorous but insightful flair that is sure to engage hardcore fans and curious browsers alike, Trashfiend takes a fun albeit critical look at an often-overlooked genre. Includes interviews with John Stanley, ex-horror host who also directed Nightmare in Blood and authored The Creature Features Movie Guide; Richard Cardella, star and co-writer of The Crater Lake Monster; Bruce Jones, comic artist and writer with recent accolades for his work on The Incredible Hulk; and Cal Bolder, star of Jesse James Meets Frankenstein's Daughter, among other lesser known celebrities. Articles include a detailed look at blaxploitation horror movies; Mars Attacks trading cards; Pat Boyette, prolific horror comic artist whose work has graced vintage Warren (Creepy) through to DC (The Witching Hour); Marvel's b&w horror comics line of the 1970s; Weird fiction digests (such as Magazine of Horror and Web of Terror Stories); collecting 8mm film reels; Aurora plastic hobby kits; and much more. Includes over a hundred reproductions of rare ad art, as well as vintage books, toys and magazines from the era.
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ISBN: 0813552818, 0813552826 | 2012 | PDF | 288 pages | 3 MB
The decade from 2000 to 2009 is framed, at one end, by the traumatic catastrophe of the 9/11 attacks on the World Trade Center and, at the other, by the election of the first African American president of the United States. In between, the United States and the world witnessed the rapid expansion of new media and the Internet, such natural disasters as Hurricane Katrina, political uprisings around the world, and a massive meltdown of world economies. Amid these crises and revolutions, American films responded in multiple ways, sometimes directly reflecting these turbulent times, and sometimes indirectly couching history in traditional genres and stories. In American Cinema of the 2000s, essays from ten top film scholars examine such popular series as the groundbreaking Matrix films and the gripping adventures of former CIA covert operative Jason Bourne; new, offbeat films like Juno; and the resurgence of documentaries like Michael Moore’s Fahrenheit 9/11. Each essay demonstrates the complex ways in which American culture and American cinema are bound together in subtle and challenging ways.
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ISBN: 0813552451, 0813552443 | 2012 | PDF | 288 pages | 4 MB
In the 1990s, American civil society got upended and reordered as many social, cultural, political, and economic institutions were changed forever. Pretty People examines a wide range of Hollywood icons who reflect how stardom in that decade was transformed as the nation itself was signaling significant changes to familiar ideas about gender, race, ethnicity, age, class, sexuality, and nationality. Such actors as Denzel Washington, Andy Garcia, Halle Berry, Angela Bassett, Will Smith, Jennifer Lopez, and Antonio Banderas became bona fide movie stars who carried major films to amazing box-office success. Five of the decade’s top ten films were opened by three women—Julia Roberts, Jodie Foster, and Whoopi Goldberg. “Chick flick” entered the lexicon as Leonardo DiCaprio became the “King of the World,” ushering in the cult of the mega celebrity. Tom Hanks and Tom Cruise defined screen masculinity as stark contrasts between “the regular guy” and “the intense guy” while the roles of Michael Douglas exemplified the endangered “Average White Male.” A fascinating composite portrait of 1990s Hollywood and its stars, this collection marks the changes to stardom and society at century’s end.
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English | ISBN: 0231164947, 0231164955 | 2013 | PDF | 184 pages | 13,6 MB
Satyajit Ray, one of the greatest auteurs of twentieth century cinema, was a Bengali motion-picture director, writer, and illustrator who set a new standard for Indian cinema with his Apu Trilogy: Pather Panchali (Song of the Little Road) (1955), Aparajito (The Unvanquished) (1956), and Apur Sansar (The World of Apu) (1959). His work was admired for its humanism, versatility, attention to detail, and skilled use of music. He was also widely praised for his critical and intellectual writings, which mirror his filmmaking in their precision and wide-ranging grasp of history, culture, and aesthetics. Spanning forty years of Ray's career, these essays, for the first time collected in one volume, present the filmmaker's reflections on the art and craft of the cinematic medium and include his thoughts on sentimentalism, mass culture, silent films, the influence of the French New Wave, and the experience of being a successful director. Ray speaks on the difficulty of adapting literary works to screen, the nature of the modern film festival, and the phenomenal contributions of Jean-Luc Godard and the Indian actor, director, producer, and singer Uttam Kumar. The collection also features an excerpt from Ray's diaries and reproduces his sketches of famous film personalities, such as Sergei Eisenstein, Charlie Chaplin, and Akira Kurosawa, in addition to film posters, photographs by and of the artist, film stills, and a filmography. Altogether, the volume relays the full extent of Ray's engagement with film and offers extensive access to the thought of one of the twentieth-century's leading Indian intellectuals.
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Chicago Review Press | Jerry Beck | 2005 | HQ PDF | ISBN: 1556525915 | 383 pages | 100 Mb
Going beyond the box-office hits of Disney and Dreamworks, this guide to every animated movie ever released in the United States covers more than 300 films over the course of nearly 80 years of film history. Well-known films such as Finding Nemo and Shrek are profiled and hundreds of other films, many of them rarely discussed, are analyzed, compared, and catalogued. The origin of the genre and what it takes to make a great animated feature are discussed, and the influence of Japanese animation, computer graphics, and stop-motion puppet techniques are brought into perspective. Every film analysis includes reviews, four-star ratings, background information, plot synopses, accurate running times, consumer tips, and MPAA ratings. Brief guides to made-for-TV movies, direct-to-video releases, foreign films that were never theatrically released in the U.S., and live-action films with significant animation round out the volume.
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Since 1986, Roger Ebert's annual collection has been recognized as the preeminent source for full-length critical movie reviews. "Roger Ebert's "criticism shows a nearly unequaled grasp of film history and technique, and formidable intellectual range." --New York Times Pulitzer Prize-winning film critic Roger Ebert presents more than 500 full-length critical movie reviews, along with interviews, essays, tributes, journal entries, and Q and As from "Questions for the Movie Answer Man" inside Roger Ebert's Movie Yearbook 2011. From Inglourious Basterds and Crazy Heart to Avatar, Fantastic Mr. Fox, and the South Korean sensation The Chaser, Roger Ebert's Movie Yearbook 2011. includes every movie review Ebert has written from January 2008 to July 2010.
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Roger Ebert's Movie Yearbook 2010 is the ultimate source for movies, movie reviews, and much more. For nearly 25 years, Roger Ebert's annual collection has been recognized as the preeminent source for full-length critical movie reviews, and his 2010 yearbook does not disappoint. The yearbook includes every review Ebert has written from January 2007 to July 2009. It also includes interviews, essays, tributes, and all-new questions and answers from his Questions for the Movie Answer Man columns. Fans get a bonus feature, too, with new entries to Ebert's Little Movie Glossary.
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Nobody has been more important in telling Americans why we should love film than Roger Ebert." --Michael Shamberg, Editor and Publisher Pulitzer Prize-winning film critic Roger Ebert presents more than 650 full-length critical movie reviews, along with interviews, essays, tributes, film festival reports, and Q and As from Questions for the Movie Answer Man. Roger Ebert's Movie Yearbook 2009 collects more than two years' worth of his engaging film critiques. From Bee Movie to Darfur Now to No Country for Old Men, and from Juno to Persepolis to La Vie en Rose, Roger Ebert's Movie Yearbook 2009 includes every review Ebert has written from January 2006 to June 2008.
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Roger Ebert's I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a best-seller. This new collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.From Roger's review of Deuce Bigalow: European Gigolo (0 stars): "The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.'Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: 'Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind. . . . Maybe you didn't win a Pulitzer Prize because they haven't invented a category for Best Third-Rate, Unfunny Pompous Reporter Who's Never Been Acknowledged by His Peers. . . .' Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor, but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks."
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Roger Ebert has been writing film reviews for the Chicago Sun-Times for over four decades now and his biweekly essays on great movies have been appearing there since 1996. As Ebert noted in the introduction to the first collection of those pieces, “They are not the greatest films of all time, because all lists of great movies are a foolish attempt to codify works which must stand alone. But it’s fair to say: If you want to take a tour of the landmarks of the first century of cinema, start here.Enter The Great Movies III, Ebert’s third collection of essays on the cr?me de la cr?me of the silver screen, each one a model of critical appreciation and a blend of love and analysis that will send readers back to the films with a fresh set of eyes and renewed enthusiasm—or maybe even lead to a first-time viewing. From The Godfather: Part II to Groundhog Day, from The Last Picture Show to Last Tango in Paris, the hundred pieces gathered here display a welcome balance between the familiar and the esoteric, spanning Hollywood blockbusters and hidden gems, independent works and foreign language films alike. Each essay draws on Ebert’s vast knowledge of the cinema, its fascinating history, and its breadth of techniques, introducing newcomers to some of the most exceptional movies ever made, while revealing new insights to connoisseurs as well.Named the most powerful pundit in America by Forbes magazine, and a winner of the Pulitzer Prize, Roger Ebert is inarguably the most prominent and influential authority on the cinema today. The Great Movies III is sure to please his many fans and further enhance his reputation as America’s most respected—and trusted—film critic.
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Continuing the pitch-perfect critiques begun in The Great Movies, Roger Ebert's The Great Movies II collects 100 additional essays, each one of them a gem of critical appreciation and an amalgam of love, analysis, and history that will send readers back to films with a fresh set of eyes and renewed enthusiasm—or perhaps to an avid first-time viewing. Neither a snob nor a shill, Ebert manages in these essays to combine a truly populist appreciation for today's most important form of popular art with a scholar's erudition and depth of knowledge and a sure aesthetic sense. Once again wonderfully enhanced by stills selected by Mary Corliss, former film curator at the Museum of Modern Art, The Great Movies II is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again.Films featured in The Great Movies II12 Angry Men · The Adventures of Robin Hood · Alien · Amadeus · Amarcord · Annie Hall · Au Hasard, Balthazar · The Bank Dick · Beat the Devil · Being There · The Big Heat · The Birth of a Nation · The Blue Kite · Bob le Flambeur · Breathless · The Bridge on the River Kwai · Bring Me the Head of Alfredo Garc?a · Buster Keaton · Children of Paradise · A Christmas Story · The Color Purple · The Conversation · Cries and Whispers · The Discreet Charm of the Bourgeoisie · Don’t Look Now · The Earrings of Madame de . . . · The Fall of the House of Usher · The Firemen’s Ball · Five Easy Pieces · Goldfinger · The Good, the Bad and the Ugly · Goodfellas · The Gospel According to Matthew · The Grapes of Wrath · Grave of the Fireflies · Great Expectations · House of Games · The Hustler · In Cold Blood · Jaws · Jules and Jim · Kieslowski’s Three Colors Trilogy · Kind Hearts and Coronets · King Kong · The Last Laugh · Laura · Leaving Las Vegas · Le Boucher · The Leopard · The Life and Death of Colonel Blimp · The Manchurian Candidate · The Man Who Laughs · Mean Streets · Mon Oncle · Moonstruck · The Music Room · My Dinner with Andre · My Neighbor Totoro · Nights of Cabiria · One Flew Over the Cuckoo’s Nest · Orpheus · Paris, Texas · Patton · Picnic at Hanging Rock · Planes, Trains and Automobiles · The Producers · Raiders of the Lost Ark · Raise the Red Lantern · Ran · Rashomon · Rear Window · Rififi · The Right Stuff · Romeo and Juliet · The Rules of the Game · Saturday Night Fever · Say Anything · Scarface · The Searchers · Shane · Snow White and the Seven Dwarfs · Solaris · Strangers on a Train · Stroszek · A Sunday in the Country · Sunrise · A Tale of Winter · The Thin Man · This Is Spinal Tap ·Tokyo Story · Touchez Pas au Grisbi · Touch of Evil · The Treasure of the Sierra Madre · Ugetsu · Umberto D · Unforgiven · Victim · Walkabout · West Side Story · Yankee Doodle Dandy
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Roger Ebert wrote the first film review that director Martin Scorsese ever received—for 1967’s I Call First, later renamed Who’s That Knocking at My Door—creating a lasting bond that made him one of Scorsese’s most appreciative and perceptive commentators. Scorsese by Ebert offers the first record of America’s most respected film critic’s engagement with the works of America’s greatest living director, chronicling every single feature film in Scorsese’s considerable oeuvre, from his aforementioned debut to his 2008 release, the Rolling Stones documentary Shine a Light. In the course of eleven interviews done over almost forty years, the book also includes Scorsese’s own insights on both his accomplishments and disappointments. Ebert has also written and included six new reconsiderations of the director’s less commented upon films, as well as a substantial introduction that provides a framework for understanding both Scorsese and his profound impact on American cinema. "Given their career-long back-and-forth, this collection makes perfect sense. . . . In these reconsiderations, Ebert invites us into his thought processes, letting us see not just what he thinks, but how he forms his opinions. Ebert’s insights into Scorsese are terrific, but this book offers the bonus of further insights into Ebert himself."—Time Out Chicago "Ebert, film critic for the Chicago Sun-Times, is an unabashed fan of Scorsese, whom he considers ‘the most gifted director of his generation.’ . . . Of special note are interviews with Scorsese over a 25-year period, in which the director candidly discusses his body of work."—Publishers Weekly
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What was in the briefcase in Pulp Fiction? Why don't movie actors wear seat belts? Was Fargo really based on a true story? Pulitzer Prize-winning film critic Roger Ebert answers these and hundreds more. Using wit, insight, and dozens of other experts, he resolves some of the most common questions about the moviesand some of the most bizarre.
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Roger Ebert is the best-known film critic of our time. He has been reviewing films for the Chicago Sun-Times since 1967, and was the first film critic ever to win a Pulitzer Prize. He has appeared on television for four decades, including twenty-three years as cohost of Siskel & Ebert at the Movies. In 2006, complications from thyroid cancer treatment resulted in the loss of his ability to eat, drink, or speak. But with the loss of his voice, Ebert has only become a more prolific and influential writer. And now, for the first time, he tells the full, dramatic story of his life and career.
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Roger Ebert has been writing film reviews for the Chicago Sun-Times for over forty years. In fact, no critic alive has reviewed more movies than he has. Yet his essential writings have never been collected in a single volume—until now. With Awake in the Dark, both fans and film buffs can finally bask in the best of Ebert’s work. The reviews, interviews, and essays collected here present a picture of his numerous contributions to the cinema and cinephilia. From The Godfather to GoodFellas, from Cries and Whispers to Crash, the reviews in Awake in the Dark span some of the most exceptional periods in film history.
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Like a full-bodied Bordeaux wine, Roger Ebert's e-book original 25 Great French Films will reward you with a rich variety of full-length reviews of cinematic experiences. From such classics as Belle de Jour, Day for Night, and The 400 Blows to the sweeping drama (and beautiful scenery!) of Jean de Florette and its sequel Manon of the Spring, this e-book provides a perfect primer for those new to French films and a welcome refresher course for true Francophiles. And, as an added attraction, most of the reviews are accompanied with a clip of the movies' trailers, including gems like Mr. Hulot's Holiday and Jules and Jim.
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English | ISBN: 0415168708 | 1999 | PDF | 262 pages | 28,8 mb
This is the first substantial study of British cinema's most neglected genre. Bringing together original work from some of the leading writers on British popular film, this book includes interviews with key directors Mike Hodges (Get Carter) and Donald Cammel (Performance). It discusses an abundance of films including: * acclaimed recent crime films such as Shallow Grave, Shopping, and Face. * early classics like They Made Me A Fugitive * acknowledged classics such as Brighton Rock and The Long Good Friday * 50s seminal works including The Lavender Hill Mob and The Ladykillers.
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English | 2009 | ISBN: 1414422180 | ISBN-13: 9781414422183 | 1700 pages | PDF | 45 MB
A must-have for movie fans of all ages, VideoHound s Golden Movie Retriever 2010 is better than ever with new catagories, reviews and more. This is a favorite guide to turn to for accurate and irreverent movie reviews, where a Woof rating may mean the movie is bad, or it is so bad it s good! Fans will enjoy these fetures unique to the 2010 edition: Nine indexes including the fan-favorite Category Index that includes new entries such as Cubicle Hell, There Goes the Neighborhood, I Was a Teenage Criminal and City Squishing Behemoths; Birth dates (and regrettable, death dates where applicable); 30,000-ish Hound-style reviews. In addition, there are indexes for Alternate Title(s); Songs; Run Time; Format; Cast; Director, Writer, cinematographer and lyricist; Awards; and Made for TV, Cable or Video identification.
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USA Today gave it a 4-star rating, the Houston Chronicle called it "by far the best" and the New York Times says the "Hound takes the lead in a blaze of supplemental lists." The new 1996 edition of America's favorite guide to movies on video offers over 22,000 video reviews, including 1,000 new reviews.
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2012 | ISBN: 3868832033 | 240 pages | EPUB | 3,3 MB
Schüchtern und bescheiden – so beschreiben enge Freunde Mario Girotti alias Terence Hill. Deshalb ist über das Privatleben des Stars an Bud Spencers Seite auch nur wenig bekannt. So weiß kaum jemand von Hills Verbundenheit zu Deutschland, seiner Vorschulzeit in Lommatzsch bei Dresden und seiner Jugend, die er in Amelia, der umbrischen Geburtsstadt seines Vaters,und dann in Rom verbrachte. Hill lehnte aus Abneigung gegen maßlose Gewalt sogar die Rolle als »Rambo« ab – und verhalf damit Sylvester Stallone zu Weltruhm. Weitgehend unbekannt sind auch die Abgründe, die sich Terence Hill 1990 mit dem Unfalltod seines 16-jährigen Sohnes Ross auftaten – eines Waisenjungen, den er 1973 drei Tage nach dessen Geburt in München mit Hilfe des Karl-May-Filmproduzenten und Freundes Horst Wendlandt adoptiert hatte. Ulf Lüdeke hat sich auf Hills Spuren begeben und bietet in diesem Buch erstmals unbekannte Einblicke in dessen Leben.
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The New York Times bestselling movie guide from the household name in film criticism Consulted more frequently than ever in this era of Netflix as the resource, Leonard Maltin's New York Times bestselling film guide remains the most complete, most reliable, and most authoritative resource for movie reviews. Including more than 17,000 films, the 2010 edition features more than 300 new entries, 10,000 DVD and 14,000 video listings, a completely updated index of leading actors and directors, and Leonard's recommendations for movie lovers.
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Recognized as one of the leading authorities on American film, Leonard Maltin is also a parent who is aware of the differences between a child's and critic's perspective on films. Each film listed includes its MPAA rating, an explanation of that rating, category, and the author's own rating system of whether or not a film is good, bad, or okay for both older and younger children. Leonard Maltin's film essays bring families together to create movie experiences that both parents and children can enjoy.
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English | 2008 | ISBN: 1414400047 , 1414438486 | ISBN-13: 9781414400044 , 9781414438481 | 1923 pages | PDF | 33,6 MB
Review I have used Video Hound for years; their quality and coverage are excellent. Although I like Roger Ebert and Peter Travers (Rolling Stone) better as reviewers, this is the best compilation of reviews available (the Maltin book is hard to use, of poor quality, and generally the reviews are less accurate and thoughtful). The web site that goes with the book is fabulous and allows searches and lists. Together they make an unbeatable resource.
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2011 | 336 Pages | ISBN: 1441183590 , 1441110607 | PDF | 2 MB
Nazisploitation! examines past intersections of National Socialism and popular cinema and the recent reemergence of this imagery in contemporary visual culture. In the late 1960s and early 1970s, films such as Love Camp 7 and Ilsa, She-Wolf of the SS introduced and reinforced the image of Nazis as master paradigms of evil in what film theorists deem the 'sleaze' film. More recently, Tarantino's Inglourious Basterds, as well as video games such as Call of Duty: World at War, have reinvented this iconography for new audiences. In these works, the violent Nazi becomes the hyperbolic caricature of the "monstrous feminine" or the masculine sadist. Power-hungry scientists seek to clone the Führer, and Nazi zombies rise from the grave. The history, aesthetic strategies, and political implications of such translations of National Socialism into the realm of commercial, low brow, and 'sleaze' visual culture are the focus of this book. The contributors examine when and why the Nazisploitation genre emerged as it did, how it establishes and violates taboos, and why this iconography resonates with contemporary audiences.
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Publisher: Routledge | 1997 | ISBN: 0415149371/0415149363 | English | PDF | 396 pages | 3.37 Mb
The Road Movie Book is the first comprehensive study of an enduring but ever-changing Hollywood genre, its place in American culture, and its legacy to world cinema. The road and the cinema both flourished in the twentieth century, as technological advances brought motion pictures to a mass audience and the mass produced automobile opened up the road to the ordinary American. When Jean Baudrillard equated modern American culture with 'space, speed, cinema, technology' he could just as easily have added that the road movie is its supreme emblem. The contributors explore how the road movie has confronted and represented issues of nationhood, sexuality, gender, class and race. They map the generic terrain of the road movie, trace its evolution on American television as well as on the big screen from the 1930s through the 1980s, and, finally, consider road movies that go off the road, departing from the US landscape or travelling on the margins of contemporary American culture. Movies discussed include: * Road classics such as It Happened One Night, The Grapes of Wrath, The Wizard of Oz and the Bob Hope-Bing Crosby Road to films * 1960's reworkings of the road movie in Easy Rider and Bonnie and Clyde * Russ Meyer's road movies: from Motorpsycho! to Faster Pussycat! Kill! Kill! * Contemporary hits such as Paris Texas, Rain Man, Natural Born Killers and Thelma and Louise * The road movie, Australian style, from Mad Max to the Adventures of Priscilla, Queen of the Desert.
UPTC
2013 | ISBN-10: 024052246X | 480 pages | PDF | 4 MB
Learn the rules of scriptwriting, and then how to successfully break them! Unlike other screenwriting books, this unique guide pushes you to challenge yourself and break free of tired, formulaic writing--bending or breaking the rules of storytelling as we know them. Like the best-selling previous editions, seasoned authors Dancyger and Rush explore alternative approaches to the traditional three-act story structure, going beyond teaching you "how to tell a story" by teaching you how to write against conventional formulas to produce original, exciting material. The pages are filled with an international range of contemporary and classic cinema examples to inspire and instruct. New to this edition: New chapter on the newly popular genres of feature documentary, long-form television serials, non-linear stories, satire, fable, and docudrama New chapter on multiple-threaded long form, serial television scripts New chapter on genre and a new chapter on how genre’s very form is flexible to a narrative New chapter on character development New case studies, including an in-depth case study of the dark side of the fable, focusing on The Wizard of Oz and Pan’s Labyrinth
UPTC
2012 | ISBN: 0307273474 | English | 768 Pages | EPUB | 14.10 MB
A companion volume to George Stevens, Jr.’s, much admired book of American Film Institute seminars with the great pioneering moviemakers (“Invaluable”—Martin Scorsese). Those represented here—directors, producers, writers, actors, cameramen, composers, editors—are men and women working in pictures, beginning in 1950, when the studio system was collapsing and people could no longer depend on, or were bound by, the structure of studio life to make movies. Here also are those who began to work long after the studio days were over—Robert Altman, David Lynch, Steven Spielberg, among them—who talk about how they came to make movies on their own. Some—like Peter Bogdanovich, Nora Ephron, Sydney Pollack, François Truffaut—talk about how they were influenced by the iconic pictures of the great pioneer filmmakers. Others talk about how they set out to forge their own paths—John Sayles, Roger Corman, George Lucas, et al. In this series of conversations held at the American Film Institute, all aspects of their work are discussed. Here is Arthur Penn, who began in the early 1950s in New York with live TV, directing people like Kim Stanley and such live shows as Playhouse 90, and on Broadway, directing Two for the Seesaw and The Miracle Worker, before going on to Hollywood and directing Mickey One and Bonnie and Clyde, among other pictures, talking about working within the system. (“When we finished Bonnie and Clyde,” says Penn, “the film was characterized rather elegantly by one of the leading Warner executives as a 'piece of shit' . . . It wasn’t until the picture had an identity and a life of its own that the studio acknowledged it was a legitimate child of the Warner Bros. operation.”) Here in conversation is Sidney Poitier, who grew up on an island without paved roads, stores, or telephones, and who was later taught English without a Caribbean accent by a Jewish waiter, talking about working as a janitor at the American Negro Theater in exchange for acting lessons and about Hollywood: It “never really had much of a conscience . . . This town never was infected by that kind of goodness.” Here, too, is Meryl Streep, America’s premier actress, who began her career in Julia in 1977, and thirty odd years later, at sixty, was staring in The Iron Lady, defying all the rules about “term limits” and a filmmaking climate tyrannized by the male adolescent demographic . . . Streep on making her first picture, and how Jane Fonda took her under her wing (“That little line on the floor,” Fonda warned Streep, “don’t look at it, that’s where your toes are supposed to be. And that’s how you’ll be in the movie. If they’re not there, you won’t be in the movie”). Streep on the characters she chooses to play: “I like to defend characters that would otherwise be misconstrued or misunderstood.” The Next Generation is a fascinating revelation of the art of making pictures.
UPTC
English | 2011 | ISBN: 0240812093 | 384 pages | PDF | 24,6 MB
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 and 3D . Image control and filters . Bleach bypass processes . Lighting as storytelling . Shooting special effects . Set procedures and other issues * Full color illustrations bring issues of color and light to life * The definitive guide to cinematography, covering the full range of creative and technical issues in the field
UPTC
2007 | 312 Pages | ISBN: 0816649421 , 0816649413 | PDF | 4 MB
Cinema is not only a major industry in India, it is a powerful cultural force. But until now, no one has undertaken a major examination of the ways in which films made in Bombay mediate the urban experience in India. In Bombay Cinema, Ranjani Mazumdar takes a multidisciplinary approach to understanding Bombay cinema as the unofficial archive of the city in India. In this analysis of the cinematic city, Mazumdar reveals a complex postnationalist world, convulsed by the social crisis of the 1970s and transformed by the experience of globalization in the 1990s. She argues that the upheaval of postcolonial nationalism led to Bombay cinema’s articulation of urban life in entirely new terms. Specifically, the place of the village in the imaginary constitution of anticolonial nationalism gave way to a greater acknowledgment, even centrality, of urban space. Bombay Cinema takes the reader on an inventive journey through a cinematic city of mass crowds, violence, fashion, architectural fantasies, and subcultural identities. Moving through the world of gangsters and vamps, families and drifters, and heroes and villains, Bombay Cinema explores an urban landscape marked by industrial decline, civic crisis, working-class disenchantment, and diverse street life.Combining the anecdotal with the theoretical, the philosophical with the political, and the textual with the historical, Bombay Cinema leads the reader into the heart of the urban labyrinth in India, revising and deepening our understanding of both the city and the cinema.
UPTC
2009 | ISBN: 0231149034, 0231149026 | English | 312 pages | EPUB | 25.60 MB
Lighting performs essential functions in Hollywood films, enhancing the glamour, clarifying the action, and intensifying the mood. Examining every facet of this understated art form, from the glowing backlights of the silent period to the shaded alleys of film noir, Patrick Keating affirms the role of Hollywood lighting as a distinct, compositional force. Closely analyzing Girl Shy (1924), Anna Karenina (1935), Only Angels Have Wings (1939), and T-Men (1947), along with other brilliant classics, Keating describes the unique problems posed by these films and the innovative ways cinematographers handled the challenge. Once dismissed as crank-turning laborers, these early cinematographers became skillful professional artists by carefully balancing the competing demands of story, studio, and star. Enhanced by more than one hundred illustrations, this volume counters the notion that style took a backseat to storytelling in Hollywood film, proving that the lighting practices of the studio era were anything but neutral, uniform, and invisible. Cinematographers were masters of multifunctionality and negotiation, honing their craft to achieve not only realistic fantasy but also pictorial artistry.
UPTC
ISBN: 1611450411 | 2011 | EPUB | 456 pages | 8 MB
“An incomparably honest self-revelation of the artist.”—The New York Times Book Review Ingmar Bergman’s career spanned forty years as he produced more than fifty films, many of which are considered classics. When he began this book, Bergman had not seen most of his movies since he made them. Resorting to scripts and working notebooks, and especially to memory, he comments, brilliantly and always cogently, on his failures as well as his successes; on the themes that bind his work together; on the relationship between his life and art. More clearly than ever before, Images allows us to listen to, as Woody Allen put it, Bergman’s “voice of genius.” 15 black-and-white photographs
UPTC
ISBN: 0740771795 | 2007 | EPUB/MOBI | 944 pages | 3 MB/3 MB
Spanning the length of Roger Ebert's career as the leading American movie critic, this book contains all of his four-star reviews written during that time. A great guide for movie watching.
UPTC
ISBN: 076791032X | 2002 | EPUB/MOBI | 544 pages | 9 MB/6 MB
From America’s most trusted and best-known film critic, one hundred brilliant essays on the films that define for him cinematic greatness. For the past five years Roger Ebert, the famed film writer and critic, has been writing biweekly essays for a feature called "The Great Movies," in which he offers a fresh and fervent appreciation of a great film. The Great Movies collects one hundred of these essays, each one of them a gem of critical appreciation and an amalgam of love, analysis, and history that will send readers back to that film with a fresh set of eyes and renewed enthusiasm–or perhaps to an avid first-time viewing. Ebert’s selections range widely across genres, periods, and nationalities, and from the highest achievements in film art to justly beloved and wildly successful popular entertainments. Roger Ebert manages in these essays to combine a truly populist appreciation for our most important form of popular art with a scholar’s erudition and depth of knowledge and a sure aesthetic sense. Wonderfully enhanced by stills selected by Mary Corliss, film curator at the Museum of Modern Art, The Great Movies is a treasure trove for film lovers of all persuasions, an unrivaled guide for viewers, and a book to return to again and again. The Great Movies includes: All About Eve • Bonnie and Clyde • Casablanca • Citizen Kane • The Godfather • Jaws • La Dolce Vita • Metropolis • On the Waterfront • Psycho • The Seventh Seal • Sweet Smell of Success • Taxi Driver • The Third Man • The Wizard of Oz • and eighty-five more films.
UPTC
Star Trek | 1999 | PDF | ISBN: 0671034758 | 753 pages | 974 Mb
From 'audet IX to Zytchin III, this book covers it all. This is the ultimate reference book for all "Star Trek" fans! Added to this edition are 128 new pages. This addendum highlights the latest episodes of "Star Trek: Deep Space Nine(R), Star Trek: Voyager(R)" and the newest feature film, "Star Trek: Insurrection(TM) ." The thousands of photos and hundreds of illustrations place the "Star Trek" universe at your fingertips. Planets and stars, weapons and ships, people and places are just part of the meticulous research and countless cross-reference that fill this book.
UPTC
Published: 2010-04-16 | ISBN: 0813125731 | PDF | 272 pages | 4 MB
Sitting on pins and needles, anxiously waiting to see what will happen next, horror audiences crave the fear and exhilaration generated by a terrifying story; their anticipation is palpable. But they also breathe a sigh of relief when the action is over, when they are able to close their books or leave the movie theater. Whether serious, kitschy, frightening, or ridiculous, horror not only arouses the senses but also raises profound questions about fear, safety, justice, and suffering. From literature and urban legends to film and television, horror's ability to thrill has made it an integral part of modern entertainment. Thomas Fahy and twelve other scholars reveal the underlying themes of the genre in The Philosophy of Horror. Examining the evolving role of horror, the contributing authors investigate works such as Mary Shelley's Frankenstein (1818), horror films of the 1930s, Stephen King's novels, Stanley Kubrick's adaptation of The Shining (1980), and Alfred Hitchcock's Psycho (1960). Also examined are works that have largely been ignored in philosophical circles, including Truman Capote's In Cold Blood (1965), Patrick Süskind's Perfume (1985), and James Purdy's Narrow Rooms (2005). The analysis also extends to contemporary forms of popular horror and "torture-horror" films of the last decade, including Saw (2004), Hostel (2005), The Devil's Rejects (2005), and The Hills Have Eyes (2006), as well as the ongoing popularity of horror on the small screen. The Philosophy of Horror celebrates the strange, compelling, and disturbing elements of horror, drawing on interpretive approaches such as feminist, postcolonial, Marxist, and psychoanalytic criticism. The book invites readers to consider horror's various manifestations and transformations since the late 1700s, probing its social, cultural, and political functions in today's media-hungry society.
UPTC
Published: 2012-09-18 | ISBN: 0307377660 | EPUB + MOBI | 448 pages | 7 MB
How—and why—do we obsess over movie stars? How does fame both reflect and mask the person behind it? How have the image of stardom and our stars’ images altered over a century of cultural and technological change? Do we create celebrities, or do they create us? Ty Burr, film critic for The Boston Globe, answers these questions in this lively and fascinating anecdotal history of stardom, with all its blessings and curses for star and stargazer alike. From Mary Pickford and Charlie Chaplin to Archie Leach (a.k.a. Cary Grant) and Marion Morrison (a.k.a. John Wayne), Tom Cruise and Julia Roberts, and such no-cal stars of today as the Kardashians and the new online celebrity (i.e., you and me), Burr takes us on an insightful and entertaining journey through the modern fame game at its flashiest, most indulgent, occasionally most tragic, and ultimately, its most revealing.
UPTC
English | ISBN: 0691043914 | edition 2001 | PDF | 368 pages | 7,4 mb
An Accented Cinema is in numerous respects a monumental work. It is an attempt to rewrite the history of contemporary cinema by reinventing the categories we use to think about production, consumption, and spectatorship. The energy behind this effort and the continual use of excellent examples to back up the argument make the book a unique and original work of scholarship.
UPTC
2011 | 302 Pages | ISBN: 1405173742 , 1405173734 | PDF | 6 MB
Cult Cinema: an Introduction presents the first in-depth academic examination of all aspects of the field of cult cinema, including audiences, genres, and theoretical perspectives. Represents the first exhaustive introduction to cult cinema Offers a scholarly treatment of a hotly contested topic at the center of current academic debate Covers audience reactions, aesthetics, genres, theories of cult cinema, as well as historical insights into the topic
UPTC
Este libro de memorias es el fruto de dieciocho años de trabajo y de amistad entre Luis Buñuel y Jean-Claude Carrière. Juntos hicieron seis obras maestras del cine: Diario de una camarera, Belle de Jour, La vía Láctea, El discreto encanto de la burguesía, El fantasma de la libertad y Ese oscuro objeto del deseo. El libro nació espontáneamente de sus entrevistas en España y México durante los intervalos de las sesiones de trabajo, el uno evocando sus recuerdos, y el otro recogiendo las palabras de su amigo y anotándolas. Mi último suspiro recoge la voz y las propias palabras de Luis Buñuel, y nos da una particular visión del genial cineasta y de su mundo más personal.
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Robert Bresson, (Francia, 25 de septiembre de 1901 - 18 de diciembre de 1999), cineasta, autor de una serie de películas en las que desarrolló un discurso en busca del total y absoluto ascetismo, aspirando a captar aquello que escapa a la mirada ordinaria. Tras abandonar la pintura y la fotografía, Robert Bresson realizó su primer film en 1934: Les Affaires publiques, un cortometraje cómico. Recién empezada la Segunda Guerra Mundial, fue apresado por más de un año en un campo de concentración alemán. No será hasta 1943 cuando podrá realizar su primer largometraje, Les Anges du péché. Más tarde y basándose en una novela de Denis Diderot, rodará Les Dames du Bois de Boulogne en 1945, con la participación de Jean Cocteau como dialoguista. Esta película, a pesar de su fracaso comercial, situó a Bresson como un de los cineastas punteros de su generación y le valió el reconocimiento de buena parte de la crítica. En adelante realizará lo mejor de su carrera, desarrollando un estilo propio que renunciaba a actores profesionales y al artificio, en busca de un lenguaje visual puro, cargado de gestos, miradas y sonidos. De su mejor etapa destacan Le Journal d`un curé de campagne, Un condamné à mort s`est échappé, Pickpocket o Mouchette. Hacia el final de su etapa de director, en 1975, publicó el libro Notes sur le cinématographe (Notes sobre el cinematógrafo), un compendio de aforismos con los que defiende su visión del cinematógrafo que él distingue de cine. En efecto, él piensa que el cine es una especie de teatro filmado, mientras que el cinematógrafo representa una nueva escritura visual de imágenes en movimiento y de sonidos, relacionados por montaje.
Notas de trabajo, notas del autor de Lancelot du lac y Al azar Baltazar, Pickpocket y Mouchette, notas al azar durante 25 años que reunidas configuran una refutación cabal del cine, `teatro filmado`, siervo del star-system, al que Robert Bresson opone el cinematógrafo, escritura verdadera, auditiva y visual, no gestual, no con actores sino con lo que él llama modelos. Aforismos. Fragmentos. Búsqueda y sus encuentros. Un cinematógrafo, una crítica ineludible a la bastardía del cine y su industria, un grafos orgánico, un verdadero arte. Bresson ha escrito al filo de sus días de trabajo el indispensable cuaderno pascaliano -lógico, útil iluminado- sobre la lengua de las imágenes.
UPTC
English | ISBN: 029271338X, 0292713371 | 2007 | PDF | 290 pages | 6 MB
Alfred Hitchcock is arguably the most famous director to have ever made a film. Almost single-handedly he turned the suspense thriller into one of the most popular film genres of all time, while his "Psycho" updated the horror film and inspired two generations of directors to imitate and adapt this most Hitchcockian of movies. Yet while much scholarly and popular attention has focused on the director's oeuvre, until now there has been no extensive study of how Alfred Hitchcock's films and methods have affected and transformed the history of the film medium. In this book, thirteen original essays by leading film scholars reveal the richness and variety of Alfred Hitchcock's legacy as they trace his shaping influence on particular films, filmmakers, genres, and even on film criticism. Some essays concentrate on films that imitate Hitchcock in diverse ways, including the movies of "Brian de Palma" and thrillers such as "True Lies", "The Silence of the Lambs", and "Dead Again". Other essays look at genres that have been influenced by Hitchcock's work, including the 1970s paranoid thriller, the Italian giallo film, and the post-"Psycho" horror film. The remaining essays investigate developments within film culture and academic film study, including the enthusiasm of French New Wave filmmakers for Hitchcock's work, his influence on the filmic representation of violence in the post-studio Hollywood era, and the ways in which his films have become central texts for film theorists.
UPTC
ISBN: 1590181395 | edition 2003 | PDF | 112 pages | 13 mb
Profiles the popular, Academy Award-winning actress who has been called "the most powerful celebrity on the planet" and "America's best movie star."
UPTC
Peter Bogdanovich (Kingston, Nueva York, 30 de julio de 1939) es un historiador, actor, productor, crítico y director de cine estadounidense. Formó parte de la oleada del Nuevo Hollywood junto a William Friedkin, Brian De Palma, George Lucas, Martin Scorsese, Michael Cimino y Francis Ford Coppola. Su película The Last Picture Show (1971) es la más aclamada por la crítica hasta la fecha.
“Soy John Ford. Hago películas del oeste”. Así era Ford, el viejo zorro, el irlandes cascarrabias. Ford está considerado como el director que dejó la más extensa producción cinematográfica: son más de 135 las películas realizadas por él. Pero no es por una cuestión de cantidad por lo que ha sido el maestro admirado y añorado por una sucesión de generaciones, sino por su originalidad e independencia. Ford fue el creador de un estilo personal único en el que junto a un realismo a veces cruel dejaba correr como él sólo sabía hacer dosis de fantasía y ternura, que le permitieron conquistar públicos muy diversos y crear una galería de personajes en la que se ha inspirado toda la cinematografía mundial. Según Federico Fellini: `Lo que más me gusta de John Ford es el artista en estado puro, inconsciente y crudo, que carece de intermediaciones culturales estériles e inverosímiles, inmune a la contaminación intelectual. Me gusta su fuerza y su simplicidad desarmante. Cuando pienso en Ford siento el olor de barracas, de caballos, de pólvora. Visualizo tierras llanas interminables y silenciosas, los viajes interminables de sus héroes. Pero por encima de todo siento a un hombre al que le gustaban las películas, que vivía para el cine, que hizo de las películas un cuento de hadas para creérselo él mismo, un cobijo en el que vivir con la alegre espontaneidad del entretenimiento y la pasión.` Con esta lectura tendremos la oportunidad de acercarnos al genio, al director que más Oscar ha recibido en la historia del cine… y, quizás, encontremos otra buena escusa para redescubrir sus películas.
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INGMAR BERGMAN, Nació en Upsala, Suecia, en 1918, y murió en la isla sueca de Faro en julio de 2007. Sólo por su filmografía, Bergman, galardonado con cuatro Oscar y la «Palma de Palmas» de Cannes, es sin duda uno los grandes creadores de nuestro tiempo, y la lista de películas que han dejado su impronta en la historia del cine, de Fresas salvajes a Fanny y Alexander o Persona, no tiene fin. Sus inquietudes encontraron también expresión en otras formas artísticas: además de director de teatro y guionista, escribió memorias, como Linterna mágica (Andanzas 64 y Fábula 37); diarios de rodaje, como los titulados Imágenes (Andanzas 159 y Fábula 156); y las novelas Las mejores intenciones (Andanzas 176 y Fábula 88), Niños del domingo (Andanzas 221 y Fábula 64) y Conversaciones íntimas (Andanzas 340). Tusquets Editores ha publicado asimismo el guión de su célebre película Secretos de un matrimonio y de su continuación, titulada Saraband (Andanzas 626).
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Antoine Marie Joseph Artaud comúnmente llamado Antonin Artaud (Marsella, Francia, 4 de septiembre de 1896 - París, 4 de marzo de 1948), fue un poeta, dramaturgo, ensayista, novelista, director escénico y actor francés. Artaud es autor de una vasta obra que explora la mayoría de los géneros literarios, utilizándolos como caminos hacia un arte absoluto y `total`. Sus tempranos libros de poemas (luego abandonaría el preciosismo poético, decepcionado) L`ombilic des limbes (El ombligo de los limbos) de 1925 y Le Pèse-Nerfs (El pesa-nervios) anuncian ya el carácter explosivo de su obra posterior. Es más conocido como el creador del teatro de la crueldad (cf. El teatro y su doble, 1938, Manifiesto del teatro de la crueldad, 1948), noción que ha ejercido una gran influencia en la historia del teatro mundial. Trabajó en 22 películas, durante los años 20 y 30, entre las que destacan Napoléon de Abel Gance y La pasión de Juana de Arco de Carl Theodor Dreyer.

Las relaciones de Artaud con `El Cine` tuvieron siempre un carácter ambiguo y complejo: como indica uno de sus biógrafos, siempre osciló entre la sospecha de que la naciente industria sólo era un medio poco honrado de ganarse la vida ­`no puede uno trabajar en el cine sin avergonzarse`­ y la esperanza de que esta nueva forma de expresión que pudiera permitirle el descubrimiento de un lenguaje auténticamente creador y revolucionario. Actor y guionista, como teórico planteó problemas y adivinó perspectivas que resultan hoy día más actuales que nunca. El presente volumen incluye una selección de sus reflexiones sobre el cine (expresadas en críticas, entrevistas, ensayos y cartas) y siete sinopsis, entre las que destaca la de `La Concha y el Reverendo`, único guión suyo llevado a la pantalla de forma específica.
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En el presente libro, prologado por François Truffaut, Néstor Almendros detalla sus concepciones sobre los aspectos técnicos y artísticos del oficio, así como su experiencia en calidad de director de fotografía en películas de Eric Rohmer, François Truffaut, Barbet Schroeder, Monte Hellamn, Jean Eustache, Marguerite Duras, Terrence Malick, Robert Benton, Martin Scorsese, etc. Para una mayor claridad de exposición, sus conceptos son ilustrados con fotografías seleccionadas de sus películas, detallando las soluciones aplicadas a cada película concreta, de `Mi noche con Maud` a `El niño salvaje`, de `More` a `La Marquesa de O`, y `Días del cielo` o `Historias de Nueva York`.
UPTC
ISBN: 1556529511 | 2010 | PDF | 528 pages | 41 MB
Charlie Chaplin. Buster Keaton. The Marx Brothers. Billy Wilder. Woody Allen. The Coen brothers. Where would the American film be without them? Yet the cinematic genre these artists represent--comedy--has perennially received short shrift from critics, film buffs, and the Academy Awards. Saul Austerlitz’s Another Fine Mess is an attempt to right that wrong. Running the gamut of film history from City Lights to Knocked Up, Another Fine Mess retells the story of American film from the perspective of its unwanted stepbrother--the comedy. In 30 long chapters and 100 shorter entries, each devoted primarily to a single performer or director, Another Fine Mess retraces the steps of the American comedy film, filling in the gaps and following the connections that link Mae West to Doris Day, or W. C. Fields to Will Ferrell. The first book of its kind in more than a generation, Another Fine Mess is an eye-opening, entertaining, and enlightening tour of the American comedy, encompassing the masterpieces, the box-office smashes, and all the little-known gems in between.
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English | ISBN: 0393040003 | 1996 | PDF | 800 pages | 8,9 MB
If going to the movies has been the twentieth century's most popular source of artistic pleasure, "reading" about the movies may not be far behind. For this delicious, instructive, and vastly enjoyable anthology Roger Ebert has selected and introduced an international treasury of more than one-hundred selections that touch on every aspect of film-making and film-going.
UPTC
2011 | 277 Pages | ISBN: 1841504025 | scanned PDF | 39 MB
The New Deal introduced sweeping social, political, and cultural change across the United States, which Hollywood embraced enthusiastically. Then, when the heady idealism of the 1930s was replaced by the paranoia of the postwar years, Hollywood became an easy target for the anticommunists. A Divided World examines some of the important programs of the New Deal and the subsequent response of the film community—especially in relation to social welfare, women’s rights, and international affairs. The book also provides an analysis of the major works of three European directors—Billy Wilder, Ernst Lubitsch, and Fritz Lang—compared and contrasted with the products of mainstream Hollywood. This is a new interpretation of an influential period in American film history and it is sure to generate further debate and scholarship.
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2011 | 389 Pages | ISBN: 1405188278 , 1405188286 | PDF | 14 MB
Hollywood 1963-1976 chronicles the upheaval and innovation that took place in the American film industry during an era of pervasive cultural tumult. Exploring the many ideologies embraced by an increasingly diverse Hollywood, Casper offers a comprehensive canon, covering the period's classics as well as its brilliant but overlooked masterpieces. A broad overview and analysis of one of American film's most important and innovative periods Offers a new, more expansive take on the accepted canon of the era Includes films expressing ideologies contrary to the misremembered leftist slant Explores and fully contextualizes the dominant genres of the 60s and 70s
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ISBN: 068486259X, 0684862581 | 2005 | EPUB/MOBI | 560 pages | 11 MB/9 MB
Down and Dirty Pictures chronicles the rise of independent filmmakers and of the twin engines -- the Sundance Film Festival and Miramax Films -- that have powered them. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind profiles the people who took the independent movement from obscurity to the Oscars, most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax an indie powerhouse. Today Sundance is the most important film festival this side of Cannes, and Miramax has become an industry giant. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, penetrating, and controversial, Down and Dirty Pictures is a must-read for anyone interested in the film world and where it's headed.
UPTC
2007 | ISBN: 1400041309 | English | 586 pages | EPUB | 18.05 MB
From one of our leading film authorities, a rich, penetrating, amusing plum pudding of a book about the golden age of movies, full of Hollywood lore, anecdotes, and analysis. Jeanine Basinger gives us an immensely entertaining look into the “star machine,” examining how, at the height of the studio system, from the 1930s to the 1950s, the studios worked to manufacture star actors and actresses. With revelatory insights and delightful asides, she shows us how the machine worked when it worked, how it failed when it didn’t, and how irrelevant it could sometimes be. She gives us the “human factor,” case studies focusing on big stars groomed into the system: the “awesomely beautiful” (and disillusioned) Tyrone Power; the seductive, disobedient Lana Turner; and a dazzling cast of others—Loretta Young, Errol Flynn, Irene Dunne, Deanna Durbin. She anatomizes their careers, showing how their fame happened, and what happened to them as a result. (Both Lana Turner and Errol Flynn, for instance, were involved in notorious court cases.) In her trenchantly observed conclusion, she explains what has become of the star machine and why the studios’ practice of “making” stars is no longer relevant. Deeply engrossing, full of energy, wit, and wisdom, The Star Machine is destined to become an invaluable part of the film canon.
UPTC
2013 | 832 Pages | ISBN: 0452297281 | EPUB + MOBI | 10 MB + 11 MB
With a myriad of options and technology available to filmmakers, making a film is more affordable than ever. As legions of would-be filmmakers aspire to put their dreams on screen, to become the next Scorsese or viral YouTube hit, this comprehensive guide is more essential than ever. Covering digital video, film and even DSLR still cameras with video capabilities, two award winning filmmakers and teachers address all aspects of filmmaking.
UPTC
English | ISBN: 0520239520 | 2003 | PDF | 215 pages | 7,6 mb
Though Luis Buñuel, one of the most important filmmakers of the twentieth century, spent his most productive years as a director in Mexico, film histories and criticism invariably pay little attention to his work during this period. The only book-length English-language study of Buñuel's Mexican films, this book is the first to explore a significant but neglected area of this filmmaker's distinguished career and thus to fill a gap in our appreciation and understanding of both Buñuel's achievement and the history of Mexican film. Ernesto Acevedo-Muñoz considers Buñuel's Mexican films--made between 1947 and 1965--within the context of a national and nationalist film industry, comparing the filmmaker's employment of styles, genres, character types, themes, and techniques to those most characteristic of Mexican cinema. In this study Buñuel's films emerge as a link between the Classical Mexican cinema of the 1930s through the 1950s and the "new" Cinema of the 1960s, flourishing in a time of crisis for the national film industry and introducing some of the stylistic and conceptual changes that would revitalize Mexican cinema.
UPTC
2013 | ISBN: 0231165315, 0231165307 | English | 183 pages | PDF | 3.60 MB
The Cinema of Béla Tarr is a critical analysis of the work of Hungary's most prominent and internationally best known film director, written by a scholar who has followed Bela Tarr's career through a close personal and professional relationship for more than twenty-five years. András Bálint Kovács traces the development of Tarr's themes, characters, and style, showing that almost all of his major stylistic and narrative innovations were already present in his early films and that through a conscious and meticulous recombination of and experimentation with these elements, Tarr arrived at his unique style. The significance of these films is that, beyond their aesthetic and historical value, they provide the most powerful vision of an entire region and its historical situation. Tarr's films express, in their universalistic language, the shared feelings of millions of Eastern Europeans.
UPTC
English | ISBN: 1852865245 | 1994 | scan PDF | 144 pages | 76 MB
A must have guide for any cinema or horror fan. A great source for poster art and photos. The Illustrated Frankenstein Movie Guide by Stephen Jones, Introduction by Boris Karloff Reviews and rates over 400 Frankenstein films, from the first silent Frankenstein film in 1910, to "Mary Shelley's Frankenstein", starring Kenneth Branagh and Robert de Niro. Special features on Boris Karloff, Jack Pierce and Peter Cushing are included. Stephen Jones’ The Illustrated Frankenstein Movie Guide of 1994 (also known as The Frankenstein Scrapbook: The Complete Movie Guide to the World's Most Famous Monster) is a valiant attempt at listing all the Frankenstein films. In fact, Jones casts a very wide net, including films only marginally Frankensteinian. The catalog format and the sheer number of entries keeps the information on individual titles down to the bare essentials, but this is a very busy and generous book, with tons of stills and posters, that makes it a reference work — a practical checklist, if you will — of Frankenstein and related films. The intro is actually a reprint of a Karloff writing from the November 1957 Films And Filming originally published as 'My Life As A Monster'. This book is an intense offering of probably every Frankenstein imaginable up to its writing date. Not only does it list and describe them, but it also reviews the movies and references them all with an index an bibliograpy.
UPTC
English | ISBN: 0819569151 | 2009 | PDF | 370 pages | 39 MB
With one of the longest and most controversial careers in Hollywood history, Blake Edwards is a phoenix of movie directors, full of hubris, ambition, and raving comic chutzpah. His rambunctious filmography remains an artistic force on par with Hollywood's greatest comic directors: Lubitsch, Sturges, Wilder. Like Wilder, Edwards's propensity for hilarity is double-helixed with pain, and in films like Breakfast at Tiffany's, Days of Wine and Roses, and even The Pink Panther, we can hear him off-screen, laughing in the dark. And yet, despite those enormous successes, he was at one time considered a Hollywood villain. After his marriage to Julie Andrews, Edwards's Darling Lili nearly sunk the both of them and brought Paramount Studios to its knees. Almost overnight, Blake became an industry pariah, which ironically fortified his sense of satire, as he simultaneously fought the Hollywood tide and rode it. Employing keen visual analysis, meticulous research, and troves of interviews and production files, Sam Wasson delivers the first complete account of one of the maddest figures Hollywood has ever known.
UPTC
English | ISBN: 0786429747 | 2007 | EPUB | 608 pages | 10 MB
Revised and updated since its first publication in 1990, this acclaimed critical survey covers the classic chillers produced by Universal Studios during the Golden Age of Hollywood Horror, 1931 through 1946. Trekking boldly through haunts and horrors from The Frankenstein Monster, The Wolf Man, Count Dracula, and The Invisible Man, to The Mummy, Paula the Ape Woman, The Creeper, and The Inner Sanctum, the authors offer a definitive study of the 86 films produced during this era and present a general overview of the period. Coverage of the films includes complete cast lists, credits, storyline, behind-the-scenes information, production history, critical analysis, and commentary from the cast and crew (much of it drawn from interviews by Tom Weaver, whom USA Today calls "the king of the monster hunters"). Unique to this edition are a new selection of photographs and poster reproductions and an appendix listing additional films of interest.
UPTC
English | ISBN: 1405366974 | 2011 | EPUB | 320 pages | 5,1 MB
Be afraid, be very afraid...a century of cinema nightmare with John Landis. From B-movie bogeymen and outer space-oddities to big-budget terrors, "Monsters in the Movies" by horror film maestro John Landis celebrates the greatest monsters ever to creep, fly, slither, stalk or rampage across the Silver Screen. Feast your eyes on a petrifying parade of voracious vampires, flesh-eating zombies and slavering werewolves as Landis explores the historical origins of archetypal monsters. Filled with the author's own fascinating and entertaining insights into the world of movie-making along with contributions from some of the world's leading directors, actors and special-effects wizards, this book is stunningly illustrated with over 1,000 movie stills and posters from the unrivalled archives of the Kobal Collection to keep you entertained right until the curtain comes down. Get ready to sit on the edge of your seat - "Monsters in the Movies" is coming soon...



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