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Here are the actor's most essential quotations culled from as wide a variety of source materials available. They have been compiled, edited and carefully selected for inclusion in this book by that well-known Quote Monger, Andrew Delaplaine. The original illustrations are by his sister, Renee. Learn about the man's wit and wisdom from his very own words.
Describes several films made by teenagers and discusses techniques of filming, editing, and creating a soundtrack. Also discusses different types of filming equipment available and includes a glossary of technical terms.
This book is in great demand by baseball enthusiasts. Having been connected with every department of the game from player to magnate, Mr. Spalding has contributed a very important work to the game's history. As the invincible pitcher of the Boston Club, previous to the formation of the National League, his book of so many pages is an interesting record of events dating from the beginning of the great American pastime. It is not exactly a history of the game, but deals largely with incidents during the author's career, who was a player in the late 1860s and early 1870s, and helped organize the National League in 1876. One chapter, devoted to sundry topics, gives an account of the sale of the immortal "King Kelly," the original "$10,000 beauty," by Chicago to the Boston Club in the late 1880s. Other Chapters are devoted to the literature of the game, quoting several instances of the baseball paragrapher's art and also specimens of the distinct poetry of the pastime, of which "Casey at the Bat" is probably the most widely known. The Cincinnati Red Stockings Mr. Spalding gives credit as being the pioneer professional organization. It was not, however, until 1871 that professional baseball playing, as recognized today, was instituted. Mr. Spalding shows how cricket could not do for Americans. He says it is suitable for the British temperament, but not for the Yankee hustling spirit. He also tells how he worked into the game through a one-handed catch when a small boy. To lovers of baseball, whose name is legion, and whose number increases yearly, this book comprises in itself a whole library of useful information.
Author P. J. O’Connell traces Robert Drew’s influence on cinema verite through extensive interviews with Drew and with some of the founding fathers of American cinema verite filmmaking—Donn Alan Pennebaker, Gregory Shuker, and Richard Leacock. Robert Drew’s contributions to documentary film have been both technical and conceptual. Realizing that his equipment was too heavy and intrusive, Drew persuaded Time-Life Broadcasting to sponsor the development of new, lightweight, portable synchronous sound equipment that freed documentary filmmakers from the bulky, tripod-mounted, AC-powered equipment of the past. His new technology allowed him to capture intense moments as they happened, and to make viewers feel personally involved in the events he presented. While making more than twenty documentaries in the early 1960s, Drew continued to initiate innovations that were not thought possible a generation before him. P. J. O’Connell is the executive producer of public affairs at Penn State Television and an affiliate assistant professor in the School of Communication at Penn State University.
By the end of the Second World War, a growing segment of the American filmgoing public was wearying of mainstream Hollywood films and began to seek out something different. In major cities and college towns across the country, art film theaters provided a venue for alternatives to the films playing in main-street movie palaces: British, foreign-language, and independent American films, as well as documentaries and revivals of Hollywood classics. A skeptical film industry dubbed such cinemas "sure seaters," convinced that patrons would have no trouble finding seats there. However, with the success of art films like Rossellini's Open City and Mackendrick's Tight Little Island, the meaning of the term "sure seater" changed and, by the end of the 1940s, reflected the frequency with which art house cinemas filled all their seats. Wilinsky examines the development of the theaters that introduced such challenging, personal, and artistic films as The Bicycle Thief and The Red Shoes to American audiences, and offers a more complete understanding of postwar popular culture and the often complicated relationship between art cinema and the commercial film industry that ultimately shaped both and resulted in today's vibrant film culture. -- from back cover.
There was a time, as recently as the 1980s, when storefronts, murals, banners, barn signs, billboards, and even street signs were all hand-lettered with brush and paint. But, like many skilled trades, the sign industry has been overrun by the techno-fueled promise of quicker and cheaper. The resulting proliferation of computer-designed, die-cut vinyl lettering and inkjet printers has ushered a creeping sameness into our visual landscape. Fortunately, there is a growing trend to seek out traditional sign painters and a renaissance in the trade. In 2010 filmmakers Faythe Levine, coauthor of Handmade Nation, and Sam Macon began documenting these dedicated practitioners, their time-honored methods, and their appreciation for quality and craftsmanship. Sign Painters, the first anecdotal history of the craft, features stories and photographs of more than two dozen sign painters working in cities throughout the United States. With a foreword by legendary artist (and former sign painter) Ed Ruscha, this vibrant book profiles sign painters young and old, from the new vanguard working solo to collaborative shops such as San Francisco s New Bohemia Signs and New York s Colossal Media s Sky High Murals.