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Created by Scott Shaw, the primary premise of Zen Filmmaking is that no script should be used in the creation of a film. There are no rules and no definitions. But, there is much more to it than that. In this second book on Zen Filmmaking Scott Shaw leads the reader to deeper understandings of how to make the filmmaking process more rewarding, less complicated, and ultimately more enlightening.
Developed by Scott Shaw, the primary premise of Zen Filmmaking is that no screenplay should be used in the creation of a film. There are no rules and no definitions. The spontaneous creative energy of the filmmaker is the only defining factor. This allows for a spiritually pure source of immediate inspiration to be the only guide in the filmmaking process. Thereby, leading the practitioner towards Cinematic Enlightenment. Within the pages of this book, Scott Shaw leads the reader through all of the elements of Zen Filmmaking-allowing one to emerge as a competent independent filmmaker, possessing all of the necessary skills to create a feature film, documentary, or music video in the easiest, most expedient, and enlightened manner possible. This book also takes the reader behind-the-scenes on several of Scott Shaw's feature films. This provides a unique insight into the filmmaking process while illustrating how to bypass many of the obstacles of filmmaking.
Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences. Film is a term that encompasses motion pictures as individual projects, as well as — in metonymy — the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist — motion pictures (or just pictures or "picture"), the silver screen, photoplays, the cinema, picture shows, flicks — and commonly movies.
FOREWORD BY GUY KAWASAKI Presentation designer and internationally acclaimed communications expert Garr Reynolds, creator of the most popular Web site on presentation design and delivery on the Net — presentationzen.com — shares his experience in a provocative mix of illumination, inspiration, education, and guidance that will change the way you think about making presentations with PowerPoint or Keynote. Presentation Zen challenges the conventional wisdom of making "slide presentations" in today’s world and encourages you to think differently and more creatively about the preparation, design, and delivery of your presentations. Garr shares lessons and perspectives that draw upon practical advice from the fields of communication and business. Combining solid principles of design with the tenets of Zen simplicity, this book will help you along the path to simpler, more effective presentations.
Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed “posthuman cinema.” It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.
Hong Kong films tore up kung fu stereotypes in the 80s/90s. Here's the definitive tome on stunt hazards, pistol ballets, snarky gangsters and toothsome molls, hopping vampires, and Hong Kong noir. Start with John, Jacky and Michelle -- evolve to Johnnie To, Ringo Lam, the fantastic world of Tsui Hark, and the auteurdrome of Wong Kar-wai. How and why did films from Hong Kong--a British Crown Colony and map-speck--become so popular? It started in the 50s, when Chinese tycoons named Shaw decided to produce their own films as they felt quality was lacking. The Shaw Brothers owned cinemas in Southeast Asia, but creative freedom was lacking in those territories. The Shaws built their studios in Hong Kong and were soon cranking out high-quality features for distribution across much of Asia -- and Chinatowns worldwide. When the Shaws dropped almost all their film production to feed nouveau riche Hong Kongers via their TVB television channel, Hong Kong experienced a sudden wave of new filmmakers. Golden Harvest became the de facto number one studio with a cadre of filmmakers led by Sammo Hung. The most famous was Jackie Chan, who rocketed to stardom and created his own stunt team. In film after film, Jackie and Sammo co-starred in and/or competed for audience thrills with films that showcased their martial prowess and respective senses of humor. More Sex, Better Zen, Faster Bullets explicates, amplifies, and just plain rips across genres and filmmakers in one of the world's most storied film industries. Become an afflictionado. More Sex, Better Zen, Faster Bullets contains the best bits of Sex and Zen & A Bullet in the Head (1996) and Hollywood East (2000)--the two best known tomes on Hong Kong films of the twentieth century. Neither has ever been released in digital format, so author Stefan Hammond crashed together the two books and added more insight...and more film reviews. The result is the most comprehensive encyclopedia of Hong Kong film available anywhere.
A director reveals the original inspirations for his films, their history, his methods of work, and the problems of visual creativity
Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.
The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film.
The site of cinema is on the move. The extent to which technologically mediated sounds and images continue to be experienced as cinematic today is largely dependent on the intensified sense of being 'here,' 'now' and 'me' that they convey. This intensification is fundamentally rooted in the cinematic's potential to intensify our experience of time, to convey time's thickening, of which the sense of place, and a sense of self-presence are the correlatives. In this study, Pepita Hesselberth traces this thickening of time across four different spatio-temporal configurations of the cinematic: a multi-media exhibition featuring the work of Andy Warhol (1928-1987); the handheld aesthetics of European art-house films; a large-scale media installation by Rafael Lozano-Hemmer; and the usage of the trope of the flash-forward in mainstream Hollywood cinema. Only by juxtaposing these cases by looking at what they have in common, this study argues, can we grasp the complexity of the changes that the cinematic is currently undergoing.