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Over the past decade, movie audiences have become hungry for films based on real people and historical events. Never was this more evident than during the best-picture showdown between The King’s Speech and The Social Network during the 2011 Academy Awards, a scene then repeated, with Argo, Lincoln and Zero Dark Thirty in the 2013 awards.. While Hollywood moguls have come to recognize the box-office revenue and critical acclaim that accompany such films and are now fast-tracking many docudramas into theaters, there remains a need for more reality-based film scripts. In From “Chariots of Fire” to “The King’s Speech,” writer, director, and producer Alan Rosenthal presents a manual for screenwriters to develop their bio-pic or docudrama from concept to completion. This comprehensive guide begins with an overview of the genre before providing screenwriters with all the techniques and insights needed to navigate the often intimidating landscape of screenwriting for reality-based scripts. Included within the volume are tips for such challenges as inception and research, developing dialogue and narration, and capably addressing any legal and rights issues that may arise. Also included are appendixes containing useful marketing tips and broadcast guidelines. A practical, down-to-earth manual for experienced and novice screenwriters alike, From “Chariots of Fire” to “The King’s Speech” is the only manual dedicated explicitly to writing the bio-pic and docudrama. Rosenthal shares his decades of experience in the film industry, along with hands-on tools and maps, to help screenwriters completely master this popular film genre.
The development of a film script is a long and complex process, initially creatively driven by the writer, but managed by a producer or development executive. This text examines the process and considers how to create the best processes and environments for developing stories and concepts for film.
In the 21st century, films about the lives and experiences of girls and young women have become increasingly visible. Yet, British cinema's engagement with contemporary girlhood has - unlike its Hollywood counterpart - been largely ignored until now. Sarah Hill's Young Women, Girls and Postfeminism in Contemporary British Film provides the first book-length study of how young femininity has been constructed, both in films like the St. Trinians franchise and by critically acclaimed directors like Andrea Arnold, Carol Morley and Lone Scherfig. Hill offers new ways to understand how postfeminism informs British cinema and how it is adapted to fit its specific geographical context. By interrogating UK cinema through this lens, Hill paints a diverse and distinctive portrait of modern femininity and consolidates the important academic links between film, feminist media and girlhood studies.
Since the early days of cinema, filmmakers have been intrigued by the lives and loves of British monarchs. The most recent productions by ITV and Netflix show that the fascination with British royalty continues unabated both in Britain and around the world. This book examines strategies of representing power and the staging of myths of power in seven popular films about British monarchs that were made after the mid-1990s revival of the “royal biopic” genre. By combining approaches from cultural studies with concepts and theories from the humanities, such as film studies and art history, it offers a comprehensive understanding of the cinematic portraits of royalty. In addition, the volume opens up new perspectives on how meaning is generated in films about the monarchy and on the connections between the biographical narratives. The introductory chapter to the case studies reviews the different academic positions on representations of royalty, provides a toolkit for studying the subject and demonstrates ways to approach the films. The book addresses questions of historical context and goes beyond a mere exploration of historical accuracy to reveal the films’ underlying ideological aims. As such, it makes a distinctive new contribution to the growing body of interdisciplinary work on the British monarchy in general and its cinematic representations in particular. It is the first monograph about representational mechanisms of royal identities and British past(s) in royal films such as Elizabeth, The Queen and The King’s Speech.
From the New York Times bestselling author of Return of the King comes the story of LeBron James's incredible transformation from basketball star to sports and business mogul. With eight straight trips to the NBA Finals, LeBron James has proven himself one of the greatest basketball players of all time. And like Magic Johnson and Michael Jordan before him, LeBron has also become a global brand and businessman who has altered the way professional athletes think about their value, maximize their leverage, and use their voice. LEBRON, INC tells the story of James's journey down the path to becoming a billionaire sports icon -- his successes, his failures, and the lessons both have taught him along the way. With plenty of newsmaking tidbits about his rollercoaster last season in Cleveland and high-profile move to the Lakers, LEBRON, INC. shows how James has changed the way most elite athletes manage their careers, and how he launched a movement among his peers that may last decades beyond his playing days.
Film Distributors are the unsung heroes of cinema. Without them, the film industry would grind to a halt. Drawing on the archives of the Film Distributors' Association (FDA), as well as on interviews with leading British distributors of today, Delivering Dreams tells the, largely unacknowledged, story of how films were, and are, brought to British cinema-goers. It profiles some of the most flamboyant and controversial figures involved in UK distribution over the last 100 years, ranging from the founders of huge companies to visionaries who have launched small art house labels. Geoffrey MacNab also explores how the sector has reacted to a rapidly changing market and technological environment, from the transition to sound in the late 1920s to the spectre of TV in the 1950s and the move to digital in the 2000s. Ranging from the films of Charlie Chaplin to The King's Speech, and published to coincide with the centenary of the FDA's creation in December 1915, this book highlights the crucial role that distributors have played in maintaining the solid foundations of the British film industry.
This monograph offers the first ever comprehensive study of Channel 4's film production, distribution and broadcasting activities and represents a significant contribution to British cinema and television history. The importance of Channel 4 to the British film industry over the last 40 years cannot be overstated. The birth of the Channel in 1982 heralded a convergence between the UK film and television sectors which was particularly notable given that the two industries had historically been at loggerheads. In addition to its role as a broadcaster and curator of feature film programming, since its inception Channel 4 has funded or co-funded hundreds of feature films through its film commissioning arm, Film4. The Channel's commitment to financing between 15-20 films per year helped form the backbone of the ailing film sector throughout the 1980s and early 1990s, while Film4 funding has also been instrumental to the success of many companies which have become vital to the British film industry.
Drawing on new archival research into Hollywood production history and detailed analysis of individual films, Hollywood and the Invention of England examines the surprising affinity for the English past in Hollywood cinema. Stubbs asks why Hollywood filmmakers have so frequently drawn on images and narratives depicting English history, and why films of this type have resonated with audiences in America. Beginning with an overview of the cultural interaction between American film and English historical culture, the book proceeds to chart the major filmmaking cycles which characterise Hollywood's engagement with the English past from the 1930s to the present, assessing the value of English-themed films in the American film industry while also placing them in a broader historical context.
Film is the world's most popular artistic medium. What began as a novelty at country fairs rapidly became the consummate art form of the twentieth century, spanning both popular culture and high art. The Film Book enables you to identify different cinematic genres, appreciate the style of celebrated directors, see how a film is made, and understand why the greatest movies deserve their reputation. The book is unique in encompassing each of these key aspects and, as such, outspans the many other guides and film companions on the market. The guide is split into seven distinct sections, each of which deals with a particular aspect of film. The first of these chapters is a detailed history of the art form over the last 120 years, charting its evolution from a musical event accompanied by pictures, through its numerous developments and innovations-talking pictures; color film; video and DVD; online films; computer-generated special effects; and the modern 3D experience. The second shows how these techniques are applied in practice, taking the reader behind the camera to explore the film-making process and find out who's who on set, offering a useful insight into how movies are brought to life. Sections 3 to 6 look at the films themselves. Providing an overview of cinematic styles and genres, the third section covers everything from westerns, musicals, and sci-fi to arthouse cinema, the avant-garde, and the cult movie, whilst the fourth compares and contrasts the major styles of international cinema, with key schools, movements, directors, and films. The fifth section profiles 100 of the film industry's greatest and most influential directors, listing their key works and assessing their cinematic legacy, whilst the sixth section discusses 100 key cinematic works which invented, extended, or reinvented the art form. The closing section of the book is an interesting, and often provocative, range of lists compiled by a variety of film associations, publications, and institutions. Comprehensive, authoritative, and written with passion and verve, The Film Book is a unique treasure-trove of a guide that will appeal to anyone who loves movies. Table of Contents Prelims (5pp) Introduction (4pp) The story of film (56pp) 1896-1919: The Birth of Cinema 1920-1929: Silence is Golden 1930-1939: The Cinema Comes of Age 1940-1949: The Cinema Goes to War 1950-1959: The Cinema Fights Back 1970-1979: Independence Days 1980-1989: The International Years 1990-: Celluloid to Digital How movies are made (20pp) Pre-production Production Post-production World cinema (52pp) Africa The Middle East Iran Eastern Europe (including Poland, Hungary, and the Czech Republic) The Balkans (including Yugoslavia, Bugaria, Romania, Greece, and Turkey) Russian The Nordic countries (including Finland, Sweden, Norway, and Denmark) Germany France Italy United Kingdom Spain Portugal Canada Central America South America (including Argentina, Brazil, Mexico, and Chile) Australian and New Zealand China, Hong Kong, and Taiwan Japan Korea India Movie genres (52pp) Action-adventure Animation Avant-garde Biopic Comedy Costume drama Cult Disaster Documentary Epic Film Noir Gangster Horror Martial Arts Melodrama Musicals Propaganda Science Fiction and Fantasy Serials Series Teen Thrillers War Westerns 100 Key directors (92pp) Woody Allen Pedro Almodo ́var Robert Altman Michelangelo Antonioni Ingmar Bergman Bernado Bertolucci Tod Browning Luis Bun~uel Tim Burton Jane Campion Frank Capra Marcel Carne ́ Charlie Chaplin Chen Kaige Joel and Ethan Coen Francis Ford Coppola David Cronenburg George Cukor Michael Curtiz Cecil B. DeMille Jonathan Demme Brian De Palma Vittorio De Sica Stanley Donen Carl Drayer Clint Eastwood Blake Edwards Sergei Eisenstein Rainer Werner Fassbinder Federico Fellini Victor Fleming John Ford Milos Forman Abel Gance Jean-Luc Godard D.W. Griffith Howard Hawks Werner Herzog Alfred Hitchcock Hou Hsiao-Hsien John Huston Peter Jackson Elia Kazan Buster Keaton Krzysztof Kieslowski Fritz Lang David Lean Ang Lee Spike Lee Sergio Leone Ernst Lubitsch George Lucas Sidney Lumet David Lynch Alexander Mackendrick Joseph L. Mankiewicz Sam Mendes Lewis Milestone Vincente Minnelli F.W. Murnau Max Ophu ̈ls Yasujiro Ozu Georg Wilhelm Pabst Pier Paolo Pasolini Sam Peckinpah Roman Polanski Michael Powell/Emeric Pressburger Nicholas Ray Satyajit Ray Carol Reed Jean Renoir Eric Rohmer Roberto Rossellini John Schlesinger Martin Scorsese Ridley Scott Stephen Spielberg Josef von Sternberg Oliver Stone Erich von Stroheim Quentin Tarantino Andrei Tarkovsky Jacques Tati Franc ̧ois Truffaut Dziga Vertov Luchino Visconti Andrzej Wajda Raoul Walsh Peter Weir Orson Welles William Wellman Wim Wenders Billy Wilder Robert Wise John Woo William Wyler Franco Zeffirelli Zhang Yimou 100 Key Movies (52pp) Birth of a Nation (D.W. Griffith, 1915) The Cabinet of Dr. Caligari (Robert Wiene, 1919) Nosferatu: A Symphony of Terror (F.W. Murnau, 1921) Nanook of the North (Robert Flaherty, 1922) The Battleship Potemkin (Sergei Eisenstein, 1925) Metropolis (Fritz Lang, 1926) Napole ́on (Abel Gance, 1927) An Andalucian Dog (Un Chien Andalou) (Luis Bun~uel, 1928) The Passion of Joan of Arc (Carl Dreyer, 1928) All Quiet on the Western Front (Lewis Milestone, 1930) The Blue Angel (Joseph von Sternberg, 1930) City Lights (Charlie Chaplin, 1931) 42nd Street (Lloyd Bacon, 1933) Duck Soup (Leo McCarey, 1933) King Kong (Merian Cooper/Ernest Schoedsack, 1933) L'Atalante (Jean Vigo, 1934) Snow White and the Seven Dwarfs (Walt Disney, 1937) Olympia (Leni Riefenstahl, 1938) The Rules of the Game (La Re`gle du Jeu) (Jean Renoir, 1939) Gone with the Wind (Victor Fleming, 1939) The Philadelphia Story (George Cukor, 1940) His Girl Friday (Howard Hawks, 1940) The Grapes of Wrath (John Ford, 1940) Citizen Kane (Orson Welles, 1941) The Maltese Falcon (John Huston, 1941) The Little Foxes (William Wyler, 1941) To Be or Not To Be (Ernst Lubitsch, 1942) In Which We Serve (Noe ̈l Coward, 1942) Casablanca (Michael Curtiz, 1942) Ossessione (Luchino Visconti, 1942) Children of Paradise (Les Enfants du Paradis) (Marcel Carne ́, 1945) A Matter of Life and Death (Michael Powell/Emeric Pressburger, 1946) It's a Wonderful Life (Frank Capra, 1946) Bicycle Thieves (Ladri Di Biciclette) (Vittorio de Sica, 1948) Letter from an Unknown Woman (Max Ophu ̈ls, 1948) Passport to Pimlico (Henry Cornelius, 1949) The Third Man (Carol Reed, 1949) Orpheus (Orphe ́e) (Jean Cocteau, 1950) Rashomon (Akira Kurosawa, 1950) Singin' in the Rain (Gene Kelly/Stanley Donen, 1952) Tokyo Story (Yasujiro Ozu, 1953) On the Waterfront (Elia Kazan, 1954) All That Heaven Allows (Douglas Sirk, 1955) Rebel Without a Cause (Nicholas Ray, 1955) Pather Panchali (Satyajit Ray, 1955) The Night of the Hunter (Charles Laughton, 1955) The Seventh Seal (Ingmar Bergman, 1957) Vertigo (Alfred Hitchcock, 1958) Ashes and Diamonds (Andrzej Wajda, 1958) The 400 Blows (Franc ̧ois Truffaut, 1959) Some Like it Hot (Billy Wilder, 1959) Breathless (A Bout de Souffle) (Jean-Luc Godard, 1960) La Dolce Vita (Federico Fellini, 1960) Saturday Night and Sunday Morning (Karel Reisz, 1960) L'Avventura (Michelangelo Antonioni, 1960) Last Year in Marienbad (Alain Resnais, 1961) Lawrence of Arabia (David Lean, 1962) Dr. Strangelove (Stanley Kubrick, 1964) The Battle of Algiers (Gillo Pontecorvo, 1965) The Sound of Music (Robert Wise, 1965) Andrei Rublev (Andrei Tarkovsky, 1966) The Chelsea Girls (Andy Warhol, 1966) Bonnie and Clyde (Arthur Penn, 1967) The Wild Bunch (Sam Peckinpah, 1969) Easy Rider (Dennis Hopper, 1969) The Conformist (Bernardo Bertolucci, 1969) The Godfather (Francis Ford Coppola, 1972) Aguirre, Wrath of God (Werner Herzog, 1972) Nashville (Robert Altman, 1975) In the Realm of the Senses (Ai No Corrida) (Nagisa Oshima, 1976) Taxi Driver (Martin Scorsese, 1976) Annie Hall (Woody Allen, 1977)
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