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Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.
Despite being one of the biggest industries in the United States, indeed the World, the internal workings of the 'dream factory' that is Hollywood is little understood outside the business. The Hollywood Studio System: A History is the first book to describe and analyse the complete development, classic operation, and reinvention of the global corporate entitles which produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, Head of Paramount Pictures, over the decade of the 1920s helped to fashion Hollywood into a vertically integrated system, a set of economic innovations which was firmly in place by 1930. For the next three decades, the movie industry in the United States and the rest of the world operated by according to these principles. Cultural, social and economic changes ensured the dernise of this system after the Second World War. A new way to run Hollywood was required. Beginning in 1962, Lew Wasserman of Universal Studios emerged as the key innovator in creating a second studio system. He realized that creating a global media conglomerate was more important than simply being vertically integrated. Gomery's history tells the story of a 'tale of two systems 'using primary materials from a score of archives across the United States as well as a close reading of both the business and trade press of the time. Together with a range of photographs never before published the book also features over 150 box features illuminating aspect of the business.
With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.
Verhoeff investigates the emergence of the western genre, made in the first two decades of cinema (1895-1915). By analyzing many unknown and forgotten films from international archives she traces the relationships between films about the American West, their surrounding films, and other popular media such as photography, painting, (pulp) literature, Wild West Shows and popular ethnography. Through this exploration of archival material she raises new questions of historiography and provides a model for historical analysis. These first traces of the Western film reveal a preoccupation with presence and actuality that informs us about the way in which film, as new medium, took shape within the context of its contemporary visual culture. In The West in Early Cinema gaat Nanna Verhoeff op zoek naar de nog onbekende beginjaren van het westerngenre tijdens de eerste twee decennia van het medium film 1895-1915). Aan de hand van onbekende en vergeten films uit internationale filmarchieven traceert zij de relaties tussen films over het Westen, omringende filmgenres uit deze periode, en andere populaire media als fotografie, schilderkunst, (pulp)literatuur, Wild West Shows en populaire etnografie. Deze sporen van het genre tonen een grote actualiteit en variatie, die laat zien op welke manier de film als nieuw medium een vorm vond binnen de toenmalige visuele cultuur.
Gilles Deleuze published two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Engaging with a wide range of film styles, histories and theories, Deleuze's writings treat film as a new form of philosophy. This ciné-philosophy offers a startling new way of understanding the complexities of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema presents a step-by-step guide to the key concepts behind Deleuze's revolutionary theory of the cinema. Exploring ideas through key directors and genres, Deleuze's method is illustrated with examples drawn from American, British, continental European, Russian and Asian cinema. Deleuze and Cinema provides the first introductory guide to Deleuze's radical methodology for screen analysis. It will be invaluable for students and teachers of Film, Media and Philosophy.
The world-famous French singer Édith Piaf (1915-63) was never just a singer. This book suggests new ways of understanding her, her myth and her meanings over time at home and abroad, by proposing the notion of an 'imagined Piaf.
Truth and lies are two sides of the same coin. But who's flipping it? A thought-provoking and brilliantly entertaining work of nonfiction from one of the world's leading deceivers, the creator and star of the astonishing theater show and forthcoming film In & Of Itself. Derek DelGaudio believed he was a decent, honest man. But when irrefutable evidence to the contrary is found in an old journal, his memories are reawakened and Derek is forced to confront--and try to understand--his role in a significant act of deception from his past. Using his youthful notebook entries as a road map, Derek embarks on a soulful, often funny, sometimes dark journey, retracing the path that led him to a world populated by charlatans, card cheats, and con artists. As stories are peeled away and artifices are revealed, Derek examines the mystery behind his father's vanishing act, the secret he inherited from his mother, the obsession he developed with sleight-of-hand that shaped his future, and the affinity he felt for the professional swindlers who taught him how to deceive others. And once he finds himself working as a crooked dealer in a big-money Hollywood card game, Derek begins to question his own sense of morality, and discovers that even a master of deception can find himself trapped inside an illusion. A M O R A L M A N is a wildly engaging exploration of the fictions we live as truths. It is ultimately a book about the lies we tell ourselves and the realities we manufacture in others.
Pre-Code Hollywood explores the fascinating period in American motion picture history from 1930 to 1934 when the commandments of the Production Code Administration were violated with impunity in a series of wildly unconventional films—a time when censorship was lax and Hollywood made the most of it. Though more unbridled, salacious, subversive, and just plain bizarre than what came afterwards, the films of the period do indeed have the look of Hollywood cinema—but the moral terrain is so off-kilter that they seem imported from a parallel universe. In a sense, Doherty avers, the films of pre-Code Hollywood are from another universe. They lay bare what Hollywood under the Production Code attempted to cover up and push offscreen: sexual liaisons unsanctified by the laws of God or man, marriage ridiculed and redefined, ethnic lines crossed and racial barriers ignored, economic injustice exposed and political corruption assumed, vice unpunished and virtue unrewarded—in sum, pretty much the raw stuff of American culture, unvarnished and unveiled. No other book has yet sought to interpret the films and film-related meanings of the pre-Code era—what defined the period, why it ended, and what its relationship was to the country as a whole during the darkest years of the Great Depression... and afterward.
Travel narratives abound in French cinema since the 1980s. This study delineates recurrent travel tropes in films such as departures and returns, the chase, the escape, nomadic wandering, interior voyages, the unlikely travel, rituals, pilgrimages, migrants' narratives and emergencies, women's travel, and healing narratives.