The Film Book: A Complete Guide to the World of Cinema

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The Film Book: A Complete Guide to the World of Cinema

The Film Book: A Complete Guide to the World of Cinema

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The first edition was published in 1986 and changed the way I thought about film acting and stardom. Bachlin was a Marxist, and this was the first rigorous analysis of the industry I’d discovered that made real sense to me. From the history of the art form to techniques, and then the films themselves, The Film Book provides an overview of cinematic styles and genres; the industry's greatest and most influential directors, and their key works; as well as looking at filmmaking around the world, from Hollywood to Bollywood.

We didn't think Paddington, a beloved fictional character in children's literature, could get any cuter—and then we saw him on the big screen. It leaves out Phyllis Calvert and includes Audie Murphy, which enrages me, but I read it from cover to cover. A masterpiece of stills photography that captures the world behind the movie camera, culminating in her extraordinary on-set pics of Marilyn and The Misfits. First published in 1988, and thus the only one of my choices not first published in the 1960s (showing my age).Car chases and car crashes have been staples in films from Hollywood to Pinewood, while several cars – the DeLorean DMC-12 in Back to the Future, the Dodge Challenger in Vanishing Point and Chitty Chitty Bang Bang itself – have achieved global fame after silver screen exposure. Readers and audiences of all ages have been obsessed with the Wizarding World for decades, and it's easy to see why: The friendship, the magic, the excitement and the humor are as enthralling in the movies as they are in the books. I would restrict my choice to the various editions (the fifth, I believe, is forthcoming) of David Thomson’s A Biographical Dictionary of Film. Knopf, 2002) – confirmed that, even within the studio system, there were different lives being lived and different stories being told.

And if it was as puzzling in its way as some of the films seemed at the time, then that only intrigued me more, as any introduction to so important a subject should. Lawrence's novel about an affair between a gamekeeper and an upper-class woman is notorious for its explicit descriptions of sex—so much so that the book was banned for obscenity in several countries. introduced me to a different way of thinking about film and Christian Metz’s [two-volume] Essais sur la signification au cinéma (Klincksieck, 1968 and 1972) took things to a whole new level – even if the air up there was sometimes a little too thin to breathe. A study that manages to say a lot of fascinating, illuminating things about its subject even though it labours under the handicap that when it was published (1975) Hollywood had made almost no films about the Vietnam War. Test your knowledge with the essential trivia section - how much do you know about Oscar winners, biggest flops, banned films, and more?When the first Star Wars film was released in 1977, no one had any idea that it would go on to become one of the most lucrative franchises not just in film history, but in all culture. From old Hollywood to how franchises like Star Wars changed movie history, there’s a book here for any film lover!

Covering every national school of film-making from Hollywood to Bollywood, The Film Book has something for everyone. Both the book and the film adaptation of this intense story follow a kidnapped young woman and her son, who we learn was born in captivity.

Substantially revised in 2007 and made available for free download, this is exemplary film criticism, a book Ford would have delighted in deriding yet kept close by his bed, I’m sure. This monograph develops the idea of audiences as interactive and relational, introducing three innovative concepts: 'personal film journeys', five types of audience formations and five geographies of film provision.

These are the books that I’ve lived with the longest (excepting Farber On Film), so I suppose they’re the ones that have had the most profound effect on me.This may be a poor translation of Bazin, inadequately edited, but it was my generation’s first contact with cinema’s greatest post-war critic-philosopher and the godfather of the French New Wave. Julie Salamon made a deal with director Brian De Palma to allow her to shadow the production of what everyone thought would be a hit film: the film adaptation of Tom Wolfe's The Bonfire of the Vanities. Frampton wasn’t just the high priest of ‘structural cinema’, with his cerebral but playful masterpieces, Zorns Lemma and (nostalgia), but a superb essayist on classic photography and on the ontology of film as “the last machine”.



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