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A behind-the-camera portrait of the late George Stevens' 1965 "Holyland," which he built in Utah's Monument Valley in order to film The Greatest Story Ever Told.Darby reveals startling details of the final surgery that scarred the film, along with the critiques that deeply wounded Stevens.
This collection of essays analyzes film representations of the Crusades, other medieval East/West encounters, and the modern inheritance of encounters between orientalist fantasy and apocalyptic conspiracy. From studies of the filmic representations of popular figures such as El Cid, Roland, Richard I, and Saladin to examinations of such topics as Templar romance and the role of set design, location and landscape, the essays make significant contributions to our understanding of orientalist medievalism in film. Instructors considering this book for use in a course may request an examination copy here.
Jeffrey Richards examines the cultural, social, economic and technological circumstances that dictated the rise and decline of each successive cycle of Ancient World epics, from the silent film era, to the "golden age" of the 1950s, right up to the present day (Gladiator, 300, Rome). Analysis reveals that historical films are always as much about the time in which they are made as they are about the time in which they are set. The ancient world is often used to deliver messages to the contemporary audience about the present: hostility to totalitarian regimes both Fascist and Communist, concern at the decline of Christianity, support for the new state of Israel, celebrations of equality and democracy, and concern about changing gender roles. The whole adds up to a fresh look at a body of films that people think they know, but about which they will learn a good deal more.
The excitement then continues as Bare takes us through the highs and lows of his life and career, always with humor."--BOOK JACKET.
In 1914, a young midwesterner quit his railroad job to crack the Hollywood motion picture boom. Impressed by his energy and honesty in his role as Lincoln, D.W. Griffith made him his assistant for Intolerance. Griffith then made Joe a director. He swiftly progressed to a preeminent position in the industry, directing some of the biggest Hollywood stars of the 1920's including Douglas Fairbanks, Fatty Arbuckle, and Rudolph Valentino. Versatility played an important role in Joe's rich creative life inside the studios. His understanding of the mechanics of motion-picture film led him to develop and be granted a patent for teaching speech to the deaf by visualizing sound. He pioneered sound short-subjects for the Vitaphone Studios in Brooklyn and later directed WWII training films for the Army Signal Corps in Astoria. Henabery contributed, not only as a director, but also as a researcher, writer, make-up artist/actor, architect, scenic designer, and special-effects innovator. His autobiography, Before, In and After Hollywood was completed in 1975 shortly before his death. Contains 24 black and white photographs.
Edward Bernds came to Hollywood in 1928 to help United Artists make the transition to sound. He worked with some of the most notable directors in Hollywood including Frank Capra, Leo McCarey, and Howard Hawks. Though Bernds loved sound work, he had higher aspirations, and hoped to become a writer and director. His first breakthrough came during the mid-1940s on Columbia shorts starring the Three Stooges. Bernds worked with Moe, Larry, Curly, Shemp, and company for over twenty years as the Stooges' favorite director. A second breakthrough came when he wrote and directed feature length films, among them the science fiction classics: World Without End, Return of the Fly, Spacemaster X7, and Zsa-zsa Gabor's Queen of Outer Space. Edward Bernds witnessed all of the profound changes that Hollywood underwent from the advent of sound to the start of the Easy Rider era. Fortunately for students and fans of film, he tells his story in this fascinating and vivid account of his life in Hollywood.
For nearly a hundred years, the state of Utah has played host to scores of Hollywood films, from potboilers on lean budgets to some of the most memorable films ever made, including The Searchers, Butch Cassidy and the Sundance Kid, Footloose, and Thelma & Louise. This book gives readers the inside scoop, telling how these films were made, what happened on and off set, and more. As one Utah rancher memorably said to Hollywood moviemakers "don't take anything but pictures and don't leave anything but money."
This unique collection of interviews covers the broad spectrum of film directing experience--from first timers to award-winning veterans. Allowed to respond with anonymity, the directors provide candid answers to a wide variety of topics that convey the challenges and rewards of the filmmaking process.
Comprising 91 A–Z entries, this encyclopedia provides a broad and comprehensive introduction to the topic of religion within film. Technology has enabled films to reach much wider audiences, enabling today's viewers to access a dizzying number of films that employ diverse symbolism and communicate a vast array of viewpoints. Encyclopedia of Religion and Film will provide such an audience with the tools to begin their own exploration of the deeper meanings of these films and grasp the religious significance within. Organized alphabetically, this encyclopedia provides more than 90 entries on the larger religious traditions, the major film-producing regions of the globe, the films that have stirred controversy, the most significant religious symbols, and the more important filmmakers. The included topics provide substantially more information on the intersection of religion and film than any of the similar volumes currently available. While the emphasis is on the English-speaking world and the films produced therein, there is also substantial representation of non-English, non-Western film and filmmakers, providing significant intercultural coverage to the topic.
“A well-researched and thorough book examining what the author finds to be a unique facet of film music of the late 1940s and early 1950s.” —Soundtrax Lavish musical soundtracks contributed a special grandeur to the new widescreen, stereophonic sound movie experience of postwar biblical epics such as Samson and Delilah, Ben-Hur, and Quo Vadis. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s. “A major contribution to the field of film music studies and ought to be widely read by musicologists with an interest in film. Really, it ought to be read by film scholars as well: although the depth of Meyer’s engagement with the music is felt on almost every page, this is also a powerfully sustained exploration of the biblical epic as a film genre.” —American Music “Meyer’s clear and articulate study promises to be a welcome addition to the reading list of anyone interested not just in film but in mid-century music history.” —Journal of the Society for American Music “An ambitious and fascinating book.” —James Buhler, The University of Texas at Austin