A unique resource detailing the developments and use of special effects in the American movie industry, this title is well indexed and illustrated with 366 entries. It covers Academy Award-winning special effects movies, groundbreaking techniques, equipment, and devices, special effects houses, and pivotal figures in mechanical and visual special effects, makeup, creature design, directing, and stunt work."--"Outstanding Reference Sources," American Libraries, May 2001.

Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book integrates theories and practices of cinematographic technology. Secondly, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism. Cinema is now discussed in terms of globalization of audio-visual cultures, with regard to such issues as Hollywood film studios' so-called "runaway productions" and multi-national co-productions; Hollywood remakes of Asian horror films or Hong-Kong martial arts films; and the growing significance of international film festivals. However, this volume proposes that globalization is not in itself new in the history of cinema, and that cinema has always been at the forefront of transnational culture from the beginning of its history.

Since its initial publication in 1973, CINEMATOGRAPHY has become the standard guidebook on filmmaking techniques that emphasizes the cameraman's craft. Now completely revised and updated to include today's digital technology, it clearly and concisely covers what today's filmmaker needs to know about camera structure and operation, lenses, film stocks, filters, lighting and light measuring, and accessory equipment. In addition it provides up-to-date information on sound recording, editing, video transfer, studio and location shooting, production logistics, and modern techniques of picture manipulation with optical printers - a subject rarely treated in such detail in existing film books. Building on the groundwork he lays, Kris Malkiewicz explores more advanced techniques of overall picture quality control - now the filmmaker can translate the envisaged image to the screen through coordinating all aspects of cinematography. As Malkiewicz explains, whatever concept is desired, the filmmaker must be in full control of the technology in order to ensure success. Illustrated with more than 350 updated photographs and drawings, this new third edition of CINEMATOGRAPHY will continue to prove invaluable to filmmakers, film students and film teachers.

Hollywood has seen the number of camerawomen quadruple in the past 15 years. Women Behind the Camera is the first book to offer an in-depth look at the lives of camerawomen and their struggles to succeed in a male-dominated field. Krasilovsky presents interviews with 23 camerawomen, most of whom are pioneers in Hollywood and whose experiences cover the full range of the Camera Department. The camerawomen interviewed include all four women Directors of Photography who have achieved membership in the prestigious American Society of Cinematographers, one of the first female camera assistants to work at the BBC, camerawomen who worked on Star Trek VI and Terminator 2, and a full range of documentary, experimental, and video camerawomen. These pioneering women, who have filmed in war zones, on mountain peaks, underwater, and on Hollywood sets, discuss their influences, goals, and experiences with directors and stars, and the art of cinematography.

THE SACRED CINEMA OF ANDREI TARKOVSKY

A major new study of Russian filmmaker Andrei Tarkovsky (1932-1986), director of seven feature films, including Mirror, Andrei Roublyov, Solaris and The Sacrifice. ?This book explores every aspect of Andrei Tarkovsky's output in the most detailed fashion - including scripts, budget, production, shooting, editing, camera, sound, music, acting, themes, symbols, motifs, and spirituality. Tarkovsky's films are analyzed in depth, with scene-by-scene discussions.

This is an important addition to film studies, the most painstaking study of Andrei Tarkovsky's work available.

Contains 150 illustrations, of Tarkovsky's films, Tarkovsky at work, his contemporaries, and his favourite painters.

Andrei Tarkovsky is one of the most fascinating of filmmakers. He is supremely romantic, an old-fashioned, traditional artist - at home in the company Leonardo da Vinci, Pieter Brueghel, Aleksandr Pushkin, Fyodor Dostoievsky and Byzantine icon painters. Tarkovsky is a magician, no question, but argues for demystification (even while films celebrate mystery). His films are full of magical events, dreams, memory sequences, multiple viewpoints, multiple time zones and bizarre occurrences.

As genre films, Andrei Tarkovsky's movies are some of the most accomplished in cinema. As science fiction films, Stalker and Solaris have no superiors, and very few peers. Only the greatest sci-fi films can match them: Metropolis, King Kong, Close Encounters of the Third Kind and 2001: A Space Odyssey. Tarkovsky happily and methodically rewrote the rules of the sci-fi genre: Stalker and Solaris are definitely not routine genre outings. They don't have the monsters, the aliens, the visual effects, the battles, the laser guns, the stunts and action set-pieces of regular science fiction movies.

No one could deny that Andrei Roublyov is one of the greatest historical films to explore the Middle Ages, up there with The Seventh Seal, El Cid, The Navigator and Pier Paolo Pasolini's 'Life' trilogy. If you judge Andrei Roublyov in terms of historical accuracy, epic spectacle, serious themes, or cinematic poetry, it comes out at the top. Finally, in the religious film genre, The Sacrifice and Nostalghia are among the finest in cinema, the equals of the best of Ingmar Bergman, Luis Bunuel, Robert Bresson and Carl-Theodor Dreyer.

This manual introduces digital camerawork techniques used in television and video production. Written as a practical guide, the author's step-by-step instructions take you through everything you need to know, from camera controls, to editing, lighting and sound. This text provides a solid foundation to build upon in the area of digital video production. In a period of transition between analogue and digital acquisition/recording formats Digital Video Camerawork provides up-to-date information familiarizing you with the different production styles and requirements. Diagrams are used to illustrate the technology and techniques explained. Digital Video Camerawork combines clear, technical explanations with practical advice. It is ideal for the less experienced broadcast camera operator and for students on media and television production courses.

Produce professional level dialogue tracks with industry-proven techniques and insights from an Emmy Award winning sound editor. Gain innovative solutions to common dialogue editing challenges such as room tone balancing, noise removal, perspective control, finding and using alternative takes, and even time management and postproduction politics. In Dialogue Editing for Motion Pictures, Second Edition veteran film sound editor John Purcell arms you with classic as well as cutting-edge practices to effectively edit dialogue for film, TV, and video. This new edition offers: A fresh look at production workflows, from celluloid to Digital Cinema, to help you streamline your editing Expanded sections on new software tools, workstations, and dialogue mixing, including mixing "in the box" Fresh approaches to working with digital video and to moving projects from one workstation to another An insider's analysis of what happens on the set, and how that affects the dialogue editor Discussions about the interweaving histories of film sound technology and film storytelling Eye-opening tips, tricks, and insights from film professionals around the globe A companion website (www.focalpress.com/cw/purcell) with project files and video examples demonstrating editing techniques discussed in the book Don't allow your dialogue to become messy, distracting, and uncinematic! Do dialogue right with John Purcell's all-inclusive guide to this essential yet invisible art.

The first amateur movie-or cine-camera was patented in 1898, but it wasn't until 1923 that mainstream manufacturers began making cameras specifically for the amateur market. During their history, thoughtfully and thoroughly detailed in this authoritative text, a huge range of amateur cine cameras was made. The four major amateur movie film gauges are covered at length: 16mm, 9.5mm, Standard-8, and Super-8, along with some of their less successful rivals. Unique in a book on this subject is a major chapter on movie camera accessories, many of which found strange and complicated ways of bringing professional specifications to amateur equipment. The book is illustrated throughout with landmark cameras-those that epitomized certain eras, plus many other unusual and rarely illustrated models. A glossary of technical terms and an index complete the book.

'Tim Crook has written an important and much-needed book, and its arrival on our shelves has come at a highly appropriate time.' Professor Se n Street, Bournemouth University

The Sound Handbook maps theoretical and practical connections between the creation and study of sound across the multi-media spectrum of film, radio, music, sound art, websites, animation and computer games entertainment, and stage theatre.

Using a cross-disciplinary approach Tim Crook explores the technologies, philosophies and cultural issues involved in making and experiencing sound, investigating soundscape debates and providing both intellectual and creative production information. The book covers the history, theory and practice of sound and includes practical production projects and a glossary of key terms.

The Sound Handbook is supported by a companion website, signposted throughout the book, with further practical and theoretical resources dedicated to bridging the creation and study of sound across professional platforms and academic disciplines.

Producing 24pP Video demystifies the emerging standards of film and video production and discusses the 24p video film format to help novice and experienced filmmakers alike learn how to better use the newly available DV cameras. Since the 24p frame rate closely approximates the look and feel of film, it is the speed of choice whenever a "cinematic" look is desired. 24p video also offers certain compression options that are advantageous to web and wireless delivery. This full-color book discusses the special techniques required by 24p productions - all the way through the production, from preproduction planning through post and output. Each chapter includes techniques, examples, tips, and case studies. The field techniques section features real-world setups presented as demonstrations or as tutorials. Case studies present profiles of people producing 24p projects, and the DVD includes step-by-step instructions that illustrate how to work with 24p material in NLE, compositor, DVD authoring, and audio applications.

At long last, film and video editors are using the same systems to edi t their projects, and Editing Digital Film is the guide to show them h ow to do it. This concise reference provides video and film editors fa miliar with the Avid, Media 100, and Final Cut Pro systems with crucia l information they will need to edit on all three of these systems. In addition to showing film editors and directors working on DV projects how to edit for this new format, this text also clarifies the NLE pro cess to those familiar with traditional film editing.

This manual introduces digital camerawork techniques used in television and video production. Written as a practical guide, the author's step-by-step instructions take you through everything you need to know, from camera controls, to editing, lighting and sound.
This text provides a solid foundation to build upon in the area of digital video production. In a period of transition between analogue and digital acquisition/recording formats Digital Video Camerawork provides up-to-date information familiarizing you with the different production styles and requirements.
Diagrams are used to illustrate the technology and techniques explained.
Digital Video Camerawork combines clear, technical explanations with practical advice. It is ideal for the less experienced broadcast camera operator and for students on media and television production courses.
Learn from scratch the fundamentals of digital camerawork with this authoritative guide.
Ideal preparation text and reference when fulfilling a role in production.
Comprehensive coverage of broadcast camerawork and customary techniques providing a complete overview

WALERIAN BOROWCZYK by JEREMY MARK ROBINSON

Walerian Borowczyk (known as 'Boro') is one of cinema's one-offs. Quite simply, there is no filmmaker quite like Borowczyk. Borowczyk's films have an astonishing, magical quality. They reach a place very rare in contemporary cinema, and are quite unlike the films of any other auteur. Borowczyk's films create their own space, with imagery, sounds and music of a really exceptional power.

Jeremy Robinson discusses each Borowczyk film in detail, sometimes going through scenes shot by shot.

Fully illustrated, with stills from Borowczyk's movies, and from the history of erotica, a bibliography, filmography and notes. 252pp.

The text has been updated for this new (2nd) edition. www.crmoon.com EXTRACT FROM THE INTRODUCTION

Goto: Island of Love was the first Walerian Borowczyk film that made a big impression on audiences and critics, winning a number of prizes. I first saw Goto: Island of Love in 1982, at Bournemouth Film School, when we watched 16mm prints as part of our film history programme. You could see there was an astonishing vision at work here. I remember above all the creation of a visceral, idiosyncratic and original world.

If I had to single out some films, I'd cite Blanche, Immoral Tales, Behind Convent Walls, The Beast and Goto: Island of Love, for their painterly sense, the use of props and costumes, and the incredible attention to detail. Very stylish, mysterious, poetic. Not forgetting the acute awareness of the history of religion and literature. Borowczyk produced some of the most memorable images in European cinema, the equal of Ingmar Bergman, Sergei Paradjanov or Andrei Tarkovsky.

AUTHOR'S NOTE: I spent a long time researching and compiling this book. It contains a huge amount of information on the amazing filmmaker Walerian Borowczyk, much of which is very, very hard to find. You have to really dig around to discover valuable information on Boro. The book relates Borowczyk to many other filmmakers and movies, from the European art movie tradition, but also the horror genre, and animation; it analyzes each of Borowcyk's movie in depth (from the sublime - Goto and Immoral Tales - to the downright terrible - Emmanuelle 5); it assesses the critical reception of Borowczyk, and the current perception of Borowcyk as a director; it contains many illustrations (some of which are rare); it considers Borowczyk's love of erotica (with illustrations); and it contains a useful bibliography and list of sources.

Lastly, my book on Walerian Borowczyk is clearly written in an entertaining style, which I hope will encourage the reader to seek out some of Borowczyk's strange, lyrical, hallucinatory and erotic movies. And if you've already seen them, I hope my book will offer some fresh insights into Borowcyk.

This companion to the bestselling The Wes Anderson Collection is the only book to take readers behind the scenes of The Grand Budapest Hotel. Through a series of in-depth interviews between writer/director Wes Anderson and cultural critic Matt Zoller Seitz, Anderson shares the story behind the film's conception, personal anecdotes about the making of the film, and the wide variety of sources that inspired him-from author Stefan Zweig to filmmaker Ernst Lubitsch to photochrom landscapes of turn-of-the-century Middle Europe. The book also features interviews with costume designer Milena Canonero, composer Alexandre Desplat, lead actor Ralph Fiennes, production designer Adam Stockhausen and cinematographer Robert Yeoman; essays by film critics Ali Arikan and Steven Boone, film theorist and historian David Bordwell, music critic Olivia Collette, and style and costume consultant Christopher Laverty; and an introduction by playwright Anne Washburn. Previously unpublished behind-the-scenes photos, ephemera and artwork lavishly illustrate these interviews and essays. The Wes Anderson Collection: The Grand Budapest Hotel stays true to Seitz's previous book on Anderson's first seven feature films,The Wes Anderson Collectionwith an artful design and playful illustrations that capture the spirit of Anderson's inimitable aesthetic. Together, they offer a complete, definitive overview of Anderson's filmography to date. Praise for the film, The Grand Budapest Hotel: Nine Academy Award (R) nominations, including Best Picture, Directing, and Writing - Original Screenplay; Best Film - Musical or Comedy, Winner of the Golden Globe for Best Motion Picture, 5 BAFTA awards, including Best Original Screen Play; Best Production Design, Best Costume Design; Best Make Up & Hair and Best Original Music.

In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought -- provoking essay on film editing. Starting with what might be the most basic editing question -- Why do cuts work? -- Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing (which accounts for a third of the book's pages) in light of the technological changes that have taken place in the six years since its publication.

Motion pictures were first seen in 1894, when Thomas Edison introduced the Kinetoscope, a device for individually looking at film through a viewer. Over the next three years, Edison manufactured almost 1,000 Kinetoscopes and produced some 250 films to show in them. A million people worldwide first saw motion pictures through these devices.

This book describes in detail how Kinetoscopes worked and how they were sold, and describes the parlors to which the public flocked, fascinated by the novelty of moving images. It examines how the machines were copied by others and later eclipsed by the advent of projection. It also indicates where surviving machines can be found in the United States and Europe. The book concludes with an index to Edison's films between 1892 and 1896, and presents titles, filming dates, subject descriptions, and information on the location of surviving copies. Copiously illustrated, the book is a vital research tool for all students of motion picture history.

A practical, hands-on guide to lighting for video, this book explores how LEDs are changing the aesthetics of lighting and provides students with an indispensable guide to the everyday techniques required to produce professional-quality lighting in the age of LEDs and wireless control options. The book focuses on first-hand application of technical knowledge, beginning with simple lighting setups and progressing to more complicated scenarios, and features accompanying diagrams, illustrations and case studies to demonstrate their real-world application. Key topics covered include basic three-point lighting, lighting moving actors, set lighting and exposure, instrument selection, bringing style to your lighting, color temperature and the Kelvin scale, exterior lighting, lighting categories and genres, green-screen techniques, money and budgeting, and electricity and electrical distribution. The book also provides guidance on career paths including what a grip does, case studies with photos and diagrams, and an extensive glossary of set terminology to introduce students to the language of filmmaking. A must-have resource for film and media production students taking classes in lighting and/or cinematography.

This book presents three interrelated essays about cinematography which offer a theoretical understanding of the ways that film practitioners orchestrate light in today's post-digital context. Cinematography is a practice at the heart of film production which traditionally involves the control of light and camera technologies to creatively capture moving imagery. During recent years, the widespread adoption of digital processes in cinematography has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about evolving lighting practices can be found amongst this discourse. Drawing on new-materialist ideas, actor-network theory and the concept of co-creativity, these essays examine the impact of changing production processes for the role and responsibilities of a cinematographer with a specific focus on lighting. Each essay advances a new perspective on the discipline, moving from the notion of light as vision to light as material, from technology as a tool to technology as a network, and from cinematography as an industry to cinematography as a collaborative art.