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One of the great thinkers of Indian cinema, Javed Akhtar needs no introduction. As a screenplay writer, he and Salim Khan wrote the dialogue for blockbusters like Zanjeer, Deewar, and Sholay; as a songwriter, he has composed a huge variety of songs including, ‘Yeh kahaan aa gaye hum’, ‘Kuchh na kaho’, and ‘Kal ha na ho’. Talking Films and Songs showcases both these aspects of Javed Akhtar’s versatile genius, through freewheeling conversations with Nasreen Munni Kabir. Originally published in 1999 (Talking Films) and 2005 (Talking Songs), these extremely popular books have delighted readers, researchers, and scholars of Indian film. Full of wit and wisdom, this edition is a must-read for Hindi cinema enthusiasts.
'Talking Movies' is a collection of interviews with some of the most audacious and respected contemporary filmmakers of the present generation.
A veteran film critic offers a lively, opinionated guide to thinking and talking about movies -- from Casablanca to Clueless Whether we are trying to impress a date after an art house film screening or discussing Oscar nominations among friends, we all need ways to look at and talk about movies. But with so much variety between an Alfred Hitchcock thriller and a Nora Ephron romantic comedy, how can everyday viewers determine what makes a good movie? In Talking Pictures, veteran film critic Ann Hornaday walks us through the production of a typical movie -- from script and casting to final sound edit -- and explains how to evaluate each piece of the process. How do we know if a film has been well-written, above and beyond snappy dialogue? What constitutes a great screen performance? What goes into praiseworthy cinematography, editing, and sound design? And what does a director really do? In a new epilogue, Hornaday addresses important questions of representation in film and the industry and how this can, and should, effect a movie-watching experience. Full of engaging anecdotes and interviews with actors and filmmakers, Talking Pictures will help us see movies in a whole new light-not just as fans, but as film critics in our own right.
Ben's story takes place in 1977 and is told in words. Rose's story in 1927 is told entirely in pictures. Ever since his mother died, Ben feels lost. At home with her father, Rose feels alone. When Ben finds a mysterious clue hidden in his mother's room, both children risk everything to find what's missing.
“Movie Speak won’t guarantee you a job, but having a knowledge of the industry terms will fool everyone into thinking you own the place.” — Steven Spielberg “Finally a book that celebrates the process—the dynamic web of people, technique, and artistry—underneath every foot of celluloid.” —Jodie Foster Uncover the secret language of movie-making in a handbook for film buffs and language-lovers, as well as anyone who aspires to break into the business, with hundreds of essential terms, explained. Opening a window into the fascinatingly technical, odd, colorful, and mysterious working language of movies, Oscar-winning producer, actor, and director Tony Bill sheds light on the hugely complex process of making a film, as well as on the hierarchies between the cast and crew and the on-set etiquette of any movie production. From why the Assistant Director calls “wrap” to the real reason Hollywood stars began wearing sunglasses, Movie Speak offers tricks of the trade learned over decades in Hollywood—to help you crack the code of the movie business.
Nobody forgets their first time--and film directors are no exception. In these vivid and revealing interviews, a collection of filmmakers as diverse as the Coen brothers and Ken Loach, Ang Lee and Kevin Smith, Anthony Minghella and Gary Oldman, Neil Jordan and Mira Nair talk in extraordinary detail and with amazing candor about making their first films. Each chapter focuses on a director's celebrated debut--be it "Angel or "Blood Simple, "Clerks or "Diner, "Muriel's Wedding or "Truly, Madly, Deeply--and tells the inside story: from writing the script to raising the money, from casting the actors to assembling the crew, from shooting to editing, from selling the movie to screening it. Along the way, every aspect of the movie industry is explored: from dealing with agents and moguls for the first time to pitching your movie as a debutante director, from languishing in development hell to confronting test audiences from hell. The questions have been posed by Stephen Lowenstein, a young director with two acclaimed short films to his credit. Remembering the struggle to launch their careers, the directors have opened up about their first films and themselves to an unprecedented degree. Each chapter is not only a memoir of a particular movie, but also an emotional journey in which the director relives the pain and elation, the comedy and tragedy, of making a first feature. For anyone who wants to direct movies, these tales of triumph and disaster, of sleepless nights and nail-biting days, will be enthralling and terrifying in equal measure. For all other film fans, the interviews provide fascinating and entertaining insights into filmmakers who have become household names.
A companion to the study of the gangster film’s international appeal spanning the Americas, Europe, and Asia A Companion to the Gangster Film presents a comprehensive overview of the newest scholarship on the contemporary gangster film genre as a global phenomenon. While gangster films are one of America’s most popular genres, gangster movies appear in every film industry across the world. With contributions from an international panel of experts, A Companion to the Gangster Film explores the popularity of gangster films across three major continents, the Americas, Europe, and Asia. The authors acknowledge the gangster genre’s popularity and examine the reasons supporting its appeal to twenty-first century audiences across the globe. The book examines common themes across all three continents such as production histories and reception, gender race and sexuality, mafia mythologies, and politics. In addition, the companion clearly shows that no national cinema develops in isolation and that cinema is a truly global popular art form. This important guide to the gangster film genre: Reveals how the gangster film engages in complex and contradictory themes Examines the changing face of the gangster film in America Explores the ideas of gangsterism and migration in the Hispanic USA, Latin America and the Caribbean Discusses the wide variety of gangster types to appear in European cinema Contains a review of a wide-range of gangster films from the Americans, Europe, and Asia Written for academics and students of film, A Companion to the Gangster Film offers a scholarly and authoritative guide exploring the various aspects and international appeal of the gangster film genre.
How did the introduction of recorded music affect the production, viewing experience, and global export of movies? In Movies, Songs, and Electric Sound, Charles O'Brien examines American and European musical films created circa 1930, when the world's sound-equipped theaters screened movies featuring recorded songs and filmmakers in the United States and Europe struggled to meet the artistic and technical challenges of sound production and distribution. The presence of singers in films exerted special pressures on film technique, lending a distinct look and sound to the films' musical sequences. Rather than advancing a film's plot, songs in these films were staged, filmed, and cut to facilitate the singer's engagement with her or his public. Through an examination of the export market for sound films in the early 1930s, when German and American companies used musical films as a vehicle for competing to control the world film trade, this book delineates a new transnational context for understanding the Hollywood musical. Combining archival research with the cinemetric analysis of hundreds of American, German, French, and British films made between 1927 and 1934, O'Brien provides the historical context necessary for making sense of the aesthetic impact of changes in film technology from the past to the present.
This text offers readers a look at the time when sound was a vexing challenge for filmmakers and the source of contentious debate for audiences and critics. The author presents a view of the talkies' reception, amongst other issues.