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This new work is the first appraisal of one of America's most innovative and important designers of film titles, including the famous sequence in the horror thriller, "Seven."
This is a monograph on the work of American designer Kyle Cooper, one of the most significant creators of film titles since Saul Bass. His extraordinary title sequence for David Fincher's horror-thriller Seven (1995) is credited by many with bringing about a renaissance in innovative title design. Cooper is one of the founders of the Los Angeles-based company Imaginary Forces and has produced a succession of titles for such films as True Lies, The Island of Dr Moreau, Twister, Mimic, Donnie Brasco, Reindeer Games, Spider-Man and Arlington Road.
The #1 New York Times bestselling memoir of U.S. Navy Seal Chris Kyle, and the source for Clint Eastwood’s blockbuster, Academy-Award nominated movie. “An amazingly detailed account of fighting in Iraq--a humanizing, brave story that’s extremely readable.” — PATRICIA CORNWELL, New York Times Book Review "Jaw-dropping...Undeniably riveting." —RICHARD ROEPER, Chicago Sun-Times From 1999 to 2009, U.S. Navy SEAL Chris Kyle recorded the most career sniper kills in United States military history. His fellow American warriors, whom he protected with deadly precision from rooftops and stealth positions during the Iraq War, called him “The Legend”; meanwhile, the enemy feared him so much they named him al-Shaitan (“the devil”) and placed a bounty on his head. Kyle, who was tragically killed in 2013, writes honestly about the pain of war—including the deaths of two close SEAL teammates—and in moving first-person passages throughout, his wife, Taya, speaks openly about the strains of war on their family, as well as on Chris. Gripping and unforgettable, Kyle’s masterful account of his extraordinary battlefield experiences ranks as one of the great war memoirs of all time.
An honorable, aspiring attorney’s dream job becomes a dishonorable nightmare in this “funny and charming” debut (Gary Shteyngart, author of Lake Success). Sheila Raj is a recent graduate of Columbia Law School with high aspirations of working for the ACLU. When she lands a coveted year-long federal clerkship with legal goddess Judge Helga Friedman, she cannot help but think that her life is destined for jurisprudential greatness. But law school did not prepare Sheila for the sociopath who greets her on her first day, and pushes her to the brink of resignation. It’s only when she’s assigned to a high-profile death penalty case that Sheila realizes that to survive the year as Friedman’s chambermaid—not just her sanity, but actual lives will hang in the balance. Because Prada be damned, “the devil really wears a black robe” (Jill Kargman, author of Momzillas). “In the world of the federal judiciary, where judges are sacrosanct and impervious to criticism, Saira Rao’s deliciously controversial debut novel ranks with mooning the Supreme Court” (The Philadelphia Inquirer). Delivering an outrageous peek into hallowed halls, the “laugh out loud . . . Chambermaid is sure to strike a familiar chord for anyone who’s ever had a jerk for a boss” (Pittsburgh Post-Gazette).
Expand your knowledge of the aesthetics, forms and meaning of motion graphics as well as the long-running connections between the American avant-garde film, video art and TV commercials. In 1960 avant-garde animator and inventor John Whitney started a company called "Motion Graphics, Inc." to make animated titles and logos. His new company crystalized a relationship between avant-garde film and commercial broadcast design/film titles. Careful discussion of historical works puts them in context, allowing their reappearance in contemporary motion graphics clear. This book includes a thorough examination of the history of title design from the earliest films through the present, including Walter Anthony, Saul Bass, Maurice Binder, Pablo Ferro, Wayne Fitzgerald, Nina Saxon, and Kyle Cooper. This book also covers early abstract film (the Futurists Bruno Corra and Arnaldo Ginna, Leopold Survage, Walther Ruttmann, Viking Eggeling, Hans Richter, Oskar Fischinger, Mary Ellen Bute, Len Lye and Norman McLaren) and puts the work of visual music pioneers Mary Hallock-Greenewalt and Thomas Wilfred in context. The History of Motion Graphics is the essential textbook and general reference for understanding how and where the field of motion graphic design came from and where it's going.
This publication examines how opening sequences in films, classic and contemporary, act as hooks to draw the viewer into the film, showing frame by frame how graphics, type and animation are used to create atmosphere, set tone, and lend impact to movies. From Hitchcock and Godard to Tarantino, Luc Besson, and Tim Burton, this large format coffee table book finally illuminates this critical role designers play in filmmaking and gives credit to those that often go uncredited.
Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.
Basics Typography: Virtual Typography addresses a fundamentally new form of typographical communication. The book explores the visual arrangement of words and letters in the context of multimedia. Here, this arrangement is not simply a spatial positioning of text information it is also bound by time. The increasing use of moving, virtual type can help to harmonise this time-based presentation of words on screen. The book touches on work from a variety of designers, including Channel 4 and Pentagram Design. This will provide an excellent introduction to the latest methods in typographical and visual communication.