The first and only authorised book on Wes Anderson’s films, designed in the style of the classic “Tuffaut On Hitchcock”. Their candid interview is supplemented by previously unpublished behind-the-scenes photographs and artwork. Expertly guides readers through the life and career of one of the most talked about contemporary filmmakers.
Temenuga Trifonova - European Film Theory
European Film Theory explores the ‘Europeanness’ of European film theory, its philosophical origins, the ‘culture wars’ between ‘Continental’ and ‘Analytical’ film theory and philosophy, the major discursive and epistemological shifts in the history of Continental film theory, the relationship between Continental philosophy of art and philosophy of history and European film theory. Writing from a range of disciplines and perspectives, the contributors to this new volume in the AFI FILM READERS series offer fresh interpretations of European film theorists and illuminate the political potential of European film theory.
Tony Williams - The Cinema of George A. Romero
The Cinema of George A. Romero: Knight of the Living Dead is the first in-depth study in English of the career of this foremost auteur working at the margins of the Hollywood mainstream in the horror genre. In placing Romero's oeuvre in the context of literary naturalism, the book explores the relevance of the director's films within American cultural traditions and thus explains the potency of such work beyond 'splatter movie' models. The author explores the roots of naturalism in the work of Emile Zola and traces this through to the EC Comics of the 1950s and on to the work of Stephen King. In so doing, the book illuminates the importance of seminal Romero texts such as Night of the Living Dead (1968), Creepshow (1982), Monkey Shines (1988), The Dark Half (1992). This study also includes full coverage of Romero's latest feature, Bruiser (2000), as well as his screenplays and teleplays.
Kenneth Branagh - Beginning
In "Beginning," Academy Award nominee Kenneth Branagh charts the ups and downs of a life in acting - a young career that has made him the most acclaimed actor of his generation. Opening with his childhood in working-class Belfast, in a neighborhood of drinkers and dreamers, Branagh describes the fires of early ambition that drew him to the stage and to the plays of Shakespeare. At age twenty-four he founded his own actor's troupe with the goal of performing those plays; at twenty-eight, he directed and starred in the movie of "Henry V," the role that won him international fame. "Beginning" is crammed with colorful anecdotes and insights into the actor's and director's craft, including: Stories about Olivier, Gielgud, Finney, Jacobi, and a private audience with Prince Charles to research the role of Henry VAd-libbing Shakespeare when props are missingThe differences in performing on stage, television, and large-screen filmsA near-miss in landing the role of Mozart in the film "Amadeus": an actor's dream turned nightmareRaising millions from scratch and filming "Henry V" in seven weeksWritten with great humor and a natural storyteller's gift, "Beginning" is an intriguing book for anyone interested in theater and film.
Mark White - Kenneth Branagh
From humble beginnings, Kenneth Branagh drove himself to dizzy heights of accomplishment. With a West End hit at twenty-one, a lead with the RSC by twenty-three and his own theatre company by twenty-six, no actor of his generation achieved so much so rapidly. And yet no actor has received such relentless criticism. Based on extensive research and numerous interviews, Mark White traces the vicissitudes of Branagh's career, examining his meteoric rise and the accompanying backlash.
Samuel Crowl - The Films of Kenneth Branagh
Between the release of "Henry V" in 1989 and "Love's Labour's Lost" in 2000, Kenneth Branagh directed eight major films in a wide variety of genres, ranging from film noir to horror to comedy, and continually startled audiences around the world with his audacious and energetic film style. Initially following in the footsteps of Orson Welles and Laurence Olivier, Branagh has placed himself among the small collection of actors who have transformed themselves into award-winning directors as well. In this, the first comprehensive English-language treatment of Branagh's feature films, Crowl delves deeply into the work of this bold artist, demonstrating the means by which Branagh manages to produce films that appeal to the general public even while treating texts and themes that are traditionally relegated to the realms of academic institutions and high art. As with Branagh's own work, readers cannot help but be entertained.
Jurgen Muller - Movies of the 60s
Viva María! Positioned precariously between the uptight 50s and the freewheeling 70s, the 1960s marked a turbulent time in the film industry. Though the term "feminism" may not have been ready for prime time, the 1960s were dominated by women’s liberation; from Jane Fonda’s Barbarella to Holly Golightly of Breakfast at Tiffany’s to Bonnie Parker of Bonnie and Clyde, screen females graduated from decorative accessories to complex, kick-ass personas. Now that audiences were more and more glued to their TV sets and the abolition of the Production Code loosened up the rules about what was "permissible" in cinema, filmmakers had more freedom to explore the possibilities of film as an art form. As was often the case, the Europeans were more daring—the French with Nouvelle Vague directors like Godard and Truffaut, and the Italians with such innovative films as Fellini’s 8 1/2 and Antonioni’s Eclipse—but by the mid-60s the Americans also showed signs of exercising creative liberties, especially in films from young underground directors such as Russ Meyer, John Frankenheimer, and Sam Peckinpah. Meanwhile, Mary Poppins and The Sound of Music ushered out the grandiose Hollywood musical era with a bang, the Spaghetti Western became an instant phenomenon, and Bond—James Bond—first appeared on-screen. In true pop art form, the movies of the 60s blurred the lines between art, mass market, and popular culture into a colorful, psychedelic oblivion. Dig it?
Jurgen Muller - Movies of the 50s
At a time when people were terrified of UFOs and Communism, the movie industry was busy producing movies that ranged from film noir to suspense to grandiose musicals; apparently the paranoid public in the 1950s wanted family entertainment and dark, brooding pictures in equal doses. The result is a decade's worth of truly monumental cinema, from Hitchcock masterpieces (Vertigo, Psycho, Rear Window) to comedy classics (Tati's Mr. Hulot's Holiday, Billy Wilder's Some Like it Hot) to groundbreaking nouvelle vague films (Godard's Breathless, Truffaut's The Four Hundred Blows) and profound, innovative dramas such as Antonioni's L?Avventura, Fellini's La Strada, John Huston's Misfits, and Kubrick's Paths of Glory. Though censorship kept sex safely off-screen, sexy stars such as James Dean, Marlon Brando, and Marilyn Monroe provided plenty of heat in Rebel Without a Cause, A Streetcar Named Desire, and Gentlemen Prefer Blondes respectively. A survey of the most important films of the 1950s
Jurgen Muller - Movies of the 40s
A trendsetting decade in world cinema The 40s were the decade of the movies. With the world at war, directors served up propaganda and escapist entertainment to the massed moviegoers of the pre-television age. Yet in many countries, there was also a parallel tendency towards greater realism. In Italy, for example, the spirit of the resistance culminated in the neorealist movement, which inspired the world's moviemakers with masterpieces such as De Sica's Bicycle Thieves (1948). In Hollywood, the 40s were probably the most creative phase in the studios? history. Never before had the Dream Factory brought such compellingly edgy and experimental films to the silver screen. The most seminal work of the decade was Citizen Kane (1941); Orson Welles's extravagantly original debut anticipated the expressive visual style that would come to typify film noir?the genre of ?dark movies, ? populated by romantic antiheroes and femmes fatales, that still represents the essence of cinema for many passionate movie buffs. In the atmospheric black-and-white universe of noir, Rita Hayworth, Ava Gardner, and Lauren Bacall became timeless erotic icons, while Bogart?following The Big Sleep (1945)?was the very quintessence of cool. While these movies bore witness to the cracks in America's fa?ade, another genre was busily reconstituting the nation's identity. In the films of John Ford, the Western came back with a vengeance, Monument Valley embodied America's incomparable grandeur, and John Wayne (The Duke) was a natural aristocrat of the wild frontier.
Eric Lax - Conversations with Woody Allen
In discussions that begin in 1971 and end in 2009, Allen talks about every facet of moviemaking through the prism of his own work as well as the larger world of film, and in so doing reveals an artist’s development over the course of his career. He speaks about his influences and about the genesis of his ideas; about writing, casting, acting, shooting, directing, editing, and scoring - and throughout shows himself to be thoughtful, honest, self-deprecating, always witty, and often hilarious.
Jurgen Muller - Movies of the 20s
The birth of cinema: From the invention of the moving picture to the first sound movies From the first moving pictures (the Lumi?re brothers? 1895 ?L?arriv? d?un train?), early westerns, fantastic pictures, and nickelodeons all the way through the golden age of silent film in the 1920s, this book covers the first three decades of the moving picture around the world. In America, we witness the birth of Hollywood, circa 1910, where film quickly became a powerful industry and D. W. Griffith put American cinema on the map; later, Charlie Chaplin and Buster Keaton developed a new language of visual comedy while eccentrics like Erich von Stroheim and Cecil B. DeMille turned cinema into a high art form and show biz respectively, and sex symbols like Rudolph Valentino and Greta Garbo heated up the screens. Meanwhile, in Europe, German directors such as Ernst Lubitsch and Fritz Lang were establishing their careers and Russian greats Eisenstein and Pudovkin were already revolutionizing a nascent art form. At the end of the 1920s the very first ?talkies, ? albeit rudimentary ones, brutally crushed the silent art, but by 1930 sound masterpieces such as Sternberg's The Blue Angel and Milestone's All Quiet on the Western Front were produced. This exploration of the founding years of cinema offers a fascinating perspective on a period in movie history that is far too often overlooked in our times. Film entries include: ? Synopsis ? Film stills and production photos ? Cast/crew listings ? Trivia ? Useful information on technical stuff ? Actor and director bios
Jurgen Muller - Movies of the 30s
Escaping reality: the wonderful world of cinema during the Great Depression From Tod Browning's Dracula (1931) to Charlie Chaplin's The Great Dictator (1940), this tome explores a diverse and fascinating era in world cinema. The stock market crash of 1929 had left the America?and the globe?in a devastating depression that would not begin to lift until World War II. With so many jobless, penniless, broken people singing the blues, is it any wonder that Hollywood strove to distract viewers from their misery with comedies like Chaplin's Modern Times (1936), Capra's feel-good Mr. Deeds Goes to Town (1936), and the Marx Brothers? hilarious Duck Soup (1933), thrillers such as Hitchcock's seminal The 39 Steps (1935) or Hawks's Scarface (1932), or the epic romantic classic Gone with the Wind (1939)? While American moviegoers flocked to the theaters to escape their troubles and find solace in the magical world of Hollywood movies, filmmakers in Europe were experimenting with new techniques in a medium that had only recently gained sound; Fritz Lang's German Expressionist M (1931) and Jean Renoir's anti-war masterpiece La Grande Illusion (1937) greatly enhanced cinema as an art form, while Leni Riefenstahl's visually stunning Olympia (1936-38) pushed the limits of the medium's technical capacities. It's clear that while the 1930s was a time of poverty and struggle for many people, the world of cinema was much enriched. Film entries include: ? Synopsis ? Film stills and production photos ? Cast/crew listings ? Trivia ? Useful information on technical stuff ? Actor and director bios Plus: a complete Academy Awards list for the decade The editor: J?rgen M?ller studied art history in Bochum, Paris, Pisa, and Amsterdam. He has worked as an art critic, a curator of numerous exhibitions, a visiting professor at various universities, and has published books and numerous articles on cinema and art history. Currently he holds the chair for art history at the University of Dresden, where he lives. M?ller is the series editor for TASCHEN's Movies decade titles.
Darcy Paquet - New Korean Cinema
"New Korean Cinema" charts the dramatic transformation of South Korea's film industry from the democratization movement of the late 1980s to the 2000s new generation of directors. The author considers such issues as government censorship, the market's embrace of Hollywood films, and the social changes which led to the diversification and surprising commercial strength of contemporary Korean films. Directors such as Hong Sang-soo, Kim Ki-duk, Park Chan-wook, and Bong Joon-ho are studied within their historical context together with a range of films including "Sopyonje" (1993), "Peppermint Candy" (1999), "Oldboy" (2003), and "The Host" (2006).
Sergio Sandoval - Francisco Ruis Velasco - Guillermo del Toro - Mike Mignola - Hellboy II - Art of the Movie
The anticipation is ratcheting up for one of this summer's biggest action-adventure events, Hellboy II: The Golden Army, and Dark Horse is taking you behind the scenes! As we delved into the original box-office hit, this 200-page tome likewise presents the most extensive look into the film's evolution, from early concept art and diary sketches, to photos of the final props, sets, and filming. A unique look at filmmaking and the art of graphic novels. Del Toro and Hellboy creator Mike Mignola once again bring their world-renowned talents to bear on a brand-new chapter in Hellboy's history - a visual feast only they could produce. Get your sneak peek well before the celluloid hits the screen!
Guillermo del Toro - Marc Zicree - Guillermo del Toro - Cabinet of Curiosities
An intimate look into one of the most imaginative minds of this century, Guillermo del Toro's Cabinet of Curiosities reproduces the notes, the drawings, the untold creatures, and ideas of things to come that fill del Toro's fabled illustrated notebooks This book will be a visual treasure trove for del Toro fans, as readers get a look at reproductions of his actual journal pages, filled with his handwriting, illustrations, notes in Spanish and English, as well as new annotations that add context and clarity. Sketches, notes, and inspirations for del Toro's movies Cronos, Blade 2, Hellboy, Hellboy 2, Pan's Labyrinth, and even his upcoming 2013 movie Pacific Rim will be included. Co-author Marc Scott Zicree has his own following in the Sci-Fi/Fantasy world, with his Magic Time series and The Twilight Zone Companion remaining favorites among sf/f fans. This book includes diary entries and illustrations for the following del Toro movies, both green lit and not: Cronos At the Mountains of Madness (as yet unmade) The Count of Monte Cristo Mephisto’s Bridge Mimic The Devil’s Backbone Don’t be Afraid of the Dark Blade 2 Hellboy Pan’s Labryrinth Hellboy 2 Pacific Rim
Colin Crisp - Eric Rohmer
Here, for the first time in English, is a comprehensive analysis of Eric Rohmer's work. Rohmer, an enormously influential figure in shaping postwar realist film theory, and later in the development of the French New Wave, has been largely ignored in film studies, while others of the New Wave movements such as Truffaut and Godard have received considerable attention. In Eric Rohmer: Realist and Moralist, Crisp thoroughly examines Rohmer's films, performing structuralist, psychoanalytical, and ideological analyses of each. He further evaluates the connections between these films and Rohmer's realist film theory. Finally, Crisp's impressive study situates Rohmer's work ideologically within the historical context of French cinema after World War II, and gives due recognition to the achievements of this director within the realms of film theory and filmmaking.
Jean-Luc Godard - Youssef Ishaghpour - Cinema
Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. He expounds on his central concerns - how film can "resurrect the past," the role of rhythm in film, and how cinema can be an "art that thinks." Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history.
Douglas Morrey - Alison Smith - Jacques Rivette
Jacques Rivette is perhaps the best-kept secret of French cinema. A founding figure in the New Wave, with immense influence within the Cahiers du cinéma team at its center, he developed into one of the most unusual and adventurous French directors of the last sixty years, yet his work remains little-known in comparison with his contemporaries, and this study is the first in English to look at the full span of his career. Starting with his decisively influential film criticism of the 1950s, it moves from the New Wave through the complex, experimental films of the 1970s to the challenging, playful dramas which ensured his visibility during the following two decades, and ends in the present, including Rivette's most recent films, Histoire de Marie et Julien (2003) and Ne touchez pas la hache (2007). The book takes a thematic approach, offering detailed discussion of key elements of Rivette's film world, including games, conspiracy and jealousy, as well as a study of what Rivette's cinema adds to our understanding of key theoretical concepts in Film Studies such as narrative, space and adaptation. There are many close analyses of sequences from Rivette's films including Paris nous appartient (1961), Céline et Julie vont en bateau (1974) and La Belle Noiseuse (1991). This book will be of interest to all students of French cinema.
Christopher Finch - James Earl Jones - The Art of The Lion King
A lavish celebration of The Lion King, the magnificent Disney animated feature film, The Art of The Lion King showcases the rarely seen spectrum of art created in the making of an animated film. Inspired by the panoramic majesty of the fiery sunrises, vast mountain ranges, savannahs, and velvet black nights of Africa, The Lion King was imagined and reimagined in a variety of media - from early conceptual material, beginning sketches of live animal models, to background paintings, layout drawings, and storyboards, to final art. The range of work portrayed gives an exciting look at the visual and stylistic development of the film. The lush array of artwork contained in these pages shows the evolution of The Lion King, including character development, animation, and final art. With a Foreword by James Earl Jones (the voice of Mufasa in the film), a poetic retelling of The Lion King story is woven throughout the visual gallery. Imagine Shakespeare's Hamlet reborn as a lion cub, and you have the exciting lead character of Disney's breathtaking new animated film The Lion King. Filled with lush full-color artwork (plus gatefolds) and a text that retells the tale, this lavish book is a beautiful keepsake of an unforgettable film experience. Foreword by James Earl Jones (the voice of Mufasa, Simba's father in the film).