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In this groundbreaking account of film history, Bettina Bildhauer shows how from the earliest silent films to recent blockbusters, medieval topics and plots have played an important but overlooked role in the development of cinema.Filming the Middle Ages is the first book to define medieval films as a group and trace their history from silent film in Weimar Germany to Hollywood and then to recent European co-productions. Bildhauer provides incisive new interpretations of classics like Murnau’s Faust and Eisenstein’s Alexander Nevsky, and she rediscovers some forgotten works like Douglas Sirk’s Sign of the Pagan and Asta Nielsen’s Hamlet. As Bildhauer explains, both art house films like The Seventh Seal and The Passion of Joan of Arc and popular films like Beowulf or The Da Vinci Code cleverly use the Middle Ages to challenge modern ideas of historical progress, to find alternatives to a print-dominated culture, and even to question what makes us human. Filming the Middle Ages pays special attention to medieval animated and detective films and provactively demonstrates that the invention of cinema itself is considered a return to the Middle Ages by many film theorists and film makers.Filming the Middle Ages is ideal reading for medievalists with a stake in the contemporary and film scholars with an interest in the distant past.

On January 3, 1914, Pancho Villa became Hollywood’s first Mexican superstar. In signing an exclusive movie contract, Villa agreed to keep other film companies from his battlefield, to fight in daylight wherever possible, and to reconstruct battles if the footage needed reshooting. Through memoir and newspaper reports, Margarita De Orellana looks at the documentary film-makers who went down to cover events in Mexico. Feature film-makers in Hollywood portrayed the border as the dividing line between order and chaos, in the process developing a series of lasting Mexican stereotypes—the greaser, the bandit, the beautiful señorita, the exotic Aztec. Filming Pancho reveals how Mexico was constructed in the American imagination and how movies reinforced and justified both American expansionism and racial and social prejudice.

Don't waste valuable time and budget fixing your footage in post! Shoot the effects you want effectively and creatively the first time.This full-color step-by step guide to visual effects cinematography empowers you to plan out and execute visual effects shots on a budget, without falling into the common pitfall of using high-end computer graphics to "fix it in post.” Learn how to effectively photograph foreground miniatures, matte paintings, green screen set ups, miniatures, crowd replication, explosions, and so much more to create elements that will composite together flawlessly. Filming the Fantastic focuses on the art and craft of visual effects using real case scenarios from a visual effects cameraman. These lessons from the front line will give you ideas and insight so you can translate your skills into any situation, no matter what camera or software package you are using and no matter if you are using film or digital technology. Learn how to film your fantastic visual effects with this book! * Hundreds of full-color set photographs show you exactly how it's done* Includes step-by-step information on green screen setup* Real-world examples and exercises throughout

Filming the Gods examines the role and depiction of religion in Indian cinema, showing that the relationship between the modern and the traditional in contemporary India is not exotic, but part of everyday life. Concentrating mainly on the Hindi cinema of Mumbai, Bollywood, it also discusses India's other cinemas. Rachel Dwyer's lively discussion encompasses the mythological genre which continues India's long tradition of retelling Hindu myths and legends, drawing on sources such as the national epics of the Mahabharata and the Ramayana; the devotional genre, which flourished at the height of the nationalist movement in the 1930s and 40s; and the films made in Bombay that depict India's Islamicate culture, including the historical, the courtesan film and the 'Muslim social' genre. Filming the Gods also examines the presence of the religious across other genres and how cinema represents religious communities and their beliefs and practices. It draws on interviews with film stars, directors and producers as well as popular fiction, fan magazines and the films themselves. As a result, Filming the Gods is a both a guide to the study of film in religious culture as well as a historical overview of Indian religious film.

Davies begins his study with a comparison of theatrical and cinematic space showing that the dramatic resources of cinema are essentially spatial. Central chapters focus on Welles' Macbeth, Othello, and Chimes at Midnight; Olivier's Henry V, Hamlet, and Richard III; Brook's King Lear; and Kurosawa's Throne of Blood. Davies then discusses the dramatic problems the sources for these films pose for the film maker and he examines how these films influenced later theatrical stagings. The book concludes by exploring the demands that distinguish the work of a Shakespearean stage actor from his counterpart's in film.

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The complex stance toward modernity taken by 1920s avant-garde cinema, as exemplified by five major films.

This book features an original attempt at drawing together postmodernist theory and film.

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Don't waste valuable time and budget fixing your footage in post! Shoot the effects you want effectively and creatively the first time.This full-color step-by step guide to visual effects cinematography empowers you to plan out and execute visual effects shots on a budget, without falling into the common pitfall of using high-end computer graphics to "fix it in post.” Learn how to effectively photograph foreground miniatures, matte paintings, green screen set ups, miniatures, crowd replication, explosions, and so much more to create elements that will composite together flawlessly. Filming the Fantastic focuses on the art and craft of visual effects using real case scenarios from a visual effects cameraman. These lessons from the front line will give you ideas and insight so you can translate your skills into any situation, no matter what camera or software package you are using and no matter if you are using film or digital technology. Learn how to film your fantastic visual effects with this book! * Hundreds of full-color set photographs show you exactly how it's done* Includes step-by-step information on green screen setup* Real-world examples and exercises throughout

Davies begins his study with a comparison of theatrical and cinematic space showing that the dramatic resources of cinema are essentially spatial. Central chapters focus on Welles' Macbeth, Othello, and Chimes at Midnight; Olivier's Henry V, Hamlet, and Richard III; Brook's King Lear; and Kurosawa's Throne of Blood. Davies then discusses the dramatic problems the sources for these films pose for the film maker and he examines how these films influenced later theatrical stagings. The book concludes by exploring the demands that distinguish the work of a Shakespearean stage actor from his counterpart's in film.

A fascinating behind the scenes look at the filming of the movie SOLDIER IN THE RAIN, starring Jackie Gleason, Steve McQueen, Tuesday Weld, Tony Bill, and author CHRIS NOEL.

Forged from glaciers and sacred to Native Americans, the mountains, boulders, and rocks of the Alabama Hills mirror landscapes found all over the world. A scenic three-hour drive from the Hollywood sign, this location would prove to serve as the place to make movies. Early Hollywood studios sent location scouts to the area after hearing stories shared by travelers, and the rest is movie history. Over 500 films have completed shooting here, including silents, A movies, B Westerns, serials, sci-fi, film noir, television shows, and commercials. Tom Mix, Errol Flynn, John Wayne, William Boyd, Clayton Moore, Lucille Ball, Roy Rogers, Natalie Wood, Humphrey Bogart, Steve McQueen, Russell Crowe, Jamie Foxx, and many more have all scrambled amongst the terrain in the Alabama Hills.

Alfred Hitchcock is a fascinating look at the life of one of the most influential filmmakers in the world -- a man known for his portly profile and distinct, leery voice almost as much as for his groundbreaking movies. From Hitchcock's first film, Blackmail -- the first British movie with sound -- to his blockbuster Hollywood successes, Psycho, The Birds, Rear Window, and Vertigo. Alfred Hitchcock chronicles the Master of Suspense's close working relationship with his wife, Alma, who was an integral part of his filmmaking process, and the struggle to gain full artistic control over his work. With illustrations throughout and sidebars showcasing Hitchcocks techniques and directing style, Alfred Hitchcock reveals how some of the greatest films ever created came to be through the life and work of one of the most admired filmmakers ever.Oxford Portraits are informative and insightful biographies of people whose lives shaped their times and continue to influence ours. Based on the most recent scholarship, they draw heavily on primary sources, including writings by and about their subjects. Each book is illustrated with a wealth of photographs, documents, memorabilia, framing the personality and achievements of its subject against the backdrop of history.

New York City during the long 1970s was a place of high crime and high glamour that still holds tremendous fascination. During this era the city careened from the hopefulness of the Lindsay years to financial default in 1975 to its reemergence, under Mayor Koch, as a center of international finance. These changes form the backdrop for a body of films in which the city itself plays a starring role. The movies picture the city's racial and ethnic populations, its elite enclaves and decaying districts, its sometimes vibrant and often violent street-life, and--by the decade's end--its emerging gentrification that would soon sweep away the vestiges of an iconic, acutely singular metropolis. The films, directed by an emerging generation of filmmakers influenced both by the Italian neo-realists and the French auteurs, sought a higher realism than that offered in conventional Hollywood productions. Martin Scorsese, Francis Coppola, Sidney Lumet, Paul Mazursky, Woody Allen, and John Schlesinger capture the excitement and volatility of the period; their films and others effectively narrate the city's changing fortunes. Starring New York examines the drama and dramas of those times, providing a reorientation to the landscape of the city, both as it was and as it is today.

Jefferson Hunter examines English films and television dramas as they relate to English culture in the 20th century. He traces themes such as the influence of U.S. crime drama on English film, and film adaptations of literary works as they appear in screen work from the 1930s to the present. A Canterbury Tale and the documentary Listen to Britain are analyzed in the context of village pageants and other wartime explorations of Englishness at risk. English crime dramas are set against the writings of George Orwell, while a famous line from Noel Coward leads to a discussion of music and image in works like Brief Encounter and Look Back in Anger. Screen adaptation is also broached in analyses of the 1985 BBC version of Dickens’s Bleak House and Merchant-Ivory’s The Remains of the Day.

Piers Bizony's book has become the classic account of the making of Stanley Kubrick's seminal movie, 2001: A Space Odyssey. Hailed by Tom Hanks (in an unsolicited tribute) as "without question the best collection of not just information regarding the film, but also a chronicle of its inspiration", it has become the benchmark of writing about this cult movie. Piers Bizony interviewed many members of the team who created 2001, including Arthur C. Clarke, who co-wrote the screenplay (with Stanley Kubrick), The special effects supervisor, technical advisors, production designers, model-makers, effects technicians, and contractors. 2001: Filming the Future gives a fascinating view of the making of one of the most obsessively detailed productions ever. Now, on the eve of 2001, midnight on December 31, 2000, Warner Bros. will release worldwide a new print of 2001: A Space Odyssey. Filled with new material that came to light after first publication, the book includes interviews with actors Keir Dullea and Gary Lockwood, interviews with other actors, new material from effects supervisor Doug Trumbull, and additional illustrations to include newly discovered photographs of the main "Discovery" space model. Kubrick's career as a whole is summarized, with some notes about the last 10 years of his life. Sources and references are updated and relevant approved websites are listed to make this the ultimate sourcebook on 2001.

A unique visual record of the making of the latest James Bond film, Bond on Set: Filming Skyfall is the perfect addition to any fan's collection. Working alongside cast and crew, photographer Greg Williams provides an inside look into the world of Skyfall, with candid shots of the stars and sequences featuring many of the movie's breathtaking sets. Timed with the release of the twenty-third Bond film and the fiftieth anniversary of the movie franchise, this intriguing book is an essential companion to what will be one of the top movie events of the year. Featuring a star studded cast including Daniel Craig, Javier Bardem, Ralph Fiennes, Bérénice Marlohe, Naomie Harris, Ben Whishaw with Albert Finney and Dame Judi Dench. 007 (Gun Logo) and related James Bond Trademarks© 1962-2012 Danjaq, LLC and United Artists Corporation. All rights reserved. 007 (Gun Logo) and related James Bond Trademarks are trademarks of Danjaq, LLC, licensed by EON Productions Limited.

The late Ken Darby, a three-time winner for musical adaptation, presents a behind- the-camera portrait of the late George Stevens' 1965 "Holyland" , which he built in Utah's Monument Valley in order to film The Greatest Story Ever Told: 160 prefab aluminum bungalows housed over 400 artisans, actors, and technicians. The shooting schedule of this twenty-million dollar film was uncontrollable, and the four-hour premiere received such negative reviews that United Artists demanded that Stevens cut thirty minutes. Every cut required re-writes and new recording. Darby reveals startling details of the final surgery that scarred the film, along with the critiques that deeply wounded George Stevens.

Stop-motion animation has long been perceived as a technical practice rather than a creative, demanding art. Though stop-motion requires considerable technical knowledge, it also involves aesthetics and artistry that go beyond the technician’s realm. Just as important as puppet mechanics are lighting, filters, lenses, camera angle and placement, and dramatic pose and movement. This manual is a complete guide to the aesthetics of stop-motion animation. Information is organized in an intuitive, easy-to-use structure, following the order an animator uses in setting up and then executing a scene. The first half concentrates on the aesthetics of lighting and cameras, a primary concern in any shot, with details of camera placement, various lenses and myriad lighting techniques. The second half deals with the process of performance art, an oft-overlooked aspect of stop-motion animation. Included is a commentary on body language, facial expression, gesture, movement and emotion—key concepts that are exemplified through the acting process. The work also offers an introduction to narrative form and a glossary of related terms.