The past few years have featured such blockbusters as "Super-Size Me," "Fahrenheit 9/11," "Sicko," "March of the PenguinS," and "An Inconvenient Truth." And as news articles proclaim a new era in the history of documentary films, more and more new directors are making their first film a nonfiction one. But in addition to posing all of the usual challenges inherent to more standard filmmaking, documentaries also present unique problems that need to be understood from the outset. Where does the idea come from? How do you raise the money? How "much" money do you need? What visual style is best suited to the story? What are the legal issues involved? And how can a film reach that all-important milestone and find a willing distributor? Epstein, Friedman, and Wood tackle all of these important questions with examples and anecdotes from their own careers. The result is an informative and entertaining guide for those just starting out, and an enlightening read for anyone interested in a behind-the-scenes look at this newly reinvigorated field of film.

Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Muller, Kappelhoff, and colleagues' transdisciplinary (film studies and linguistics) approach formulated in "Cinematic Metaphor: Experience - Affectivity - Temporality". The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.).

The 1950s and 1960s were a key moment in the development of postwar France. The period was one of rapid change, derived from post-World War II economic and social modernization; yet many traditional characteristics were retained. By analyzing the eruption of the new postwar world in the context of a France that was both modern and traditional, we can see how these worlds met and interacted, and how they set the scene for the turbulent 1960s and 70s. The examination of the development of mass culture in post-war France, undertaken in this volume, offers a valuable insight into the shifts that took place. By exploring stardom from the domain of cinema and other fields, represented here by famous figures such as Brigitte Bardot, Johnny Hallyday or Jean-Luc Godard, and less conventionally treated areas of enquiry (politics [de Gaulle], literary [Francoise Sagan], and intellectual culture [Levi-Strauss]) the reader is provided with a broad understanding of the mechanisms of popularity and success, and their cultural, social, and political roles. The picture that emerges shows that many cultural articulations remained or became identifiably "French," in spite of the American mass-culture origins of these social, economic, and cultural transformations.

This dynamic in-universe book takes fans inside the world of the Ghostbusters like never before. Tobin's Spirit Guide is a comprehensive supernatural encyclopedia used by our heroes to research ghouls and ghosts. For the first time, this fully illustrated tome allows fans to pore through the pages of this legendary guide to the things that go bump in the night, from all classes of ghosts, including class 5 free-roaming vapors, to giant sloars!

Cecil B. DeMille, David Selznick, Louella Parsons, Joan Crawford--these legendary men and women built an empire called Hollywood. In Movie Crazy, meet another group of powerful players who shaped the film industry--the fans. MGM, for example, struggled to find a screen name for an actress named Lucille LeSeur. A fan--one of thousands who responded to a contest sponsored by the studio--called her Joan Crawford. Using fan club journals, fan letters, and studio production records, Samantha Barbas reveals how the passion, enthusiasm, and sometimes possessive advocacy of fans transformed early cinema, the modern mass media, and American popular culture. Barbas sheds new light on the development of the cult of celebrity in America, and demonstrates that while fans were avid consumers of the film industry, they did not mindlessly accept the images presented to them by the studios. Fans reacted to movies and stars with excitement, anger, confusion, joy, or boredom. Far from a united force, fans were often complex, and never predictable.

Wherever vampires existed in the imaginations of different peoples, they adapted themselves to the customs of the local culture. As a result, vampire lore is extremely diverse. So too, representations of the vampire in creative works have been marked by much originality. In "The Vampyre" (1819), John Polidori introduced Lord Ruthven and established the vampire craze of the 19th century that resulted in a flood of German vampire poetry, French vampire drama, and British vampire fiction. This tradition culminated in Bram Stoker's "Dracula" (1897), which fixed the character of the Transylvanian nobleman as the archetypal vampire firmly in the public imagination. Numerous films drew from Stoker's novel to varying degrees, with each emphasizing different elements of his vampire character. And more recent writers have created works in which vampirism is used to explore contemporary social concerns.

The contributors to this volume discuss representations of the vampire in fiction, folklore, film, and popular culture. The first section includes chapters on Stoker and his works, with attention to such figures as Oscar Wilde and Edvard Munch. The second section explores the vampire in film and popular culture from Bela Lugosi to "Blacula." The volume then looks at such modern writers as Anne Rice and Chelsea Quinn Yarbro who have adapted the vampire legend to meet their artistic needs. A final section studies contemporary issues, such as vampirism as a metaphor for AIDS in ""Killing Zoe."

Official retrospective companion book to the film Arrival starring Amy Adams, Jereny Renner and Forest Whitaker, featuring concept art, sketches, behind-the-scenes photography and interviews with key creative and scientific team members. Since its release in 2016, Denis Villeneuve's Arrival, based on the Hugo-nominated short story Story of Your Life by Ted Chiang, has embedded itself firmly in the minds of moviegoers around the world. The film garnered many accolades, including nine BAFTA nominations and eight Academy Award (R) nominations, proceeding to win an Oscar (R) for Best Sound Editing and a BAFTA for Best Sound. Since then, the film has generated larger conversations within the cultural landscape of academia including film, philosophy, and linguistics. In The Art and Science of Arrival, author and producer Tanya Lapointe revisits the film and its legacy with the production's key team members. This lavish hardback volume recounts the genesis of this modern classic, from Ted Chiang's short story The Story of Your Life to its premiere in Venice and its subsequent eight Academy Award(R) nominations. It explores the film's concept of non-linear time, and showcases the remarkable concept art that brought the aliens, their ships and their startling logogram language to life.

Over the last century, many 16th- and 17th-century events and personalities have been brought before home, cinema, exhibition, festival and theatrical audiences. This collection examines these representations, looking at recent television series, documentaries, pageantry, theatre and popular culture in various cultural and linguistic guises.

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.

Kord and Krimmer investigate the most common male types - cops, killers, fathers, cowboys, superheroes, spies, soldiers, rogues, lovers, and losers - by tracing changing concepts of masculinity in popular Hollywood blockbusters from 1992 to 2008 - the Clinton and Bush eras - against a backdrop of contemporary political events, social developments, and popular American myths. Their in-depth analysis of over sixty films, from The Matrix and Iron Man to Pirates of the Caribbean and The Lord of the Rings, shows that movies, far from being mere entertainment, respond directly to today's social and political realities, from consumerism to "family values" to the War on Terror.

JEAN-LUC GODARD

Theres no one else quite like Jean-Luc Godard. You could take a few frames from one of his films and know they were by the maestro and nobody else. Where the flood of movies globally now runs into many thousands, Godards works stand out as original, acerbic, romantic, ironic, humorous and explorative.

EXTRACT FROM CHAPTER 2: GODARD BIOGRAPHY

With Bout du Souffle, Godard produced one of the first, great French New Wave movies, starring Jean-Paul Belmondo and Jean Seberg, and written by, among others, Franois Truffaut. Bout du Souffle, with its cool Parisian milieu, its filmic and film noir allusions, handheld camera, direct sound, startling editing and stylish, self-conscious performances from Belmondo and Seberg, established Godard as one of the major voices of postwar cinema, a reputation which Godard built on in subsequent early films such as Le Petit Soldat (1960), Une Femme Est Une Femme (1961), Vivre Sa Vie (1962), Le Mpris (1963), Bande Part (1964), and Une Femme Marie (1964).

In these films of the early to mid-1960s, Godard established a radical, polemical series of films as film-essays which confronted issues such as late consumer capitalism, prostitution, labour, politics, ideology, gender, marriage, music, popular culture, Hollywood and not forgetting cinema itself.

In the mid-1960s, Godards films became increasingly political - the sci-fi film Alphaville (1965), Pierrot le Fou (1965), Made in U.S.A (1966), Masculine/ Fminin (1966), 2 ou 3 Choses Que Je Sais (1966) until, by 1967-68, the Marxist and Maoist influences permeated Godards films: Weekend (1967), La Chinoise (1967), La Gai Savoir (1968), and One Plus One (Sympathy For the Devil, 1968). His concern was not to make political films, but to make films politically (my emphasis).

In the 1970s, Godard moved into video and television territory, and worked with Anne-Marie Miville on many projects: Ici Et Ailleurs (1974), Numro Deux (1975), Comment a Va (1976), Six Fois Deux/ Sur Et Sous La Communication (1976), and France/ Tour/ Dtour/ Deux/ Enfants (1977-78).

In the late 1970s, Godard made a return to feature filmmaking, with the sublime trilogy, Sauve Qui Peut (a.k.a. Every Man For Himself and Slow Motion, 1979), Passion (1982), and Prnom: Carmen (1983).

Easily his most controversial film, Je Vous Salue Marie (Hail Mary), appeared in 1985; it was followed by Dtective (1985), made to help finance the completion of Hail Mary, King Lear (1987), which starred Peter Sellars, Burgess Meredith, Molly Ringwald, Norman Mailer and Woody Allen, Nouvelle Vague (1990), Hlas Pour Moi (1993), For Ever Mozart (1997), loge de lAmour (In Praise of Love, 2000) and Notre Musique (2005).

Fully illustrated. Bibliography and notes.

Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that film can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favored kind of extant philosophy.

"Refractions of Reality: Philosophy and the Moving Image" is the first book to examine all the central issues surrounding the vexed relationship between the film image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Ranciere, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and revisioning the field of film theory as a whole.

Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pretexts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? If a 'non-philosophy' like film can think philosophically, what does that imply for orthodox theory and philosophy?

Now in its fourth edition, Television and Screen Writing: From Concept to Contract is a classic resource for students and professionals in screenwriting and television writing. This book will teach you how to become a creative and marketable writer in every professional arena - including major studios, production companies, networks, cable and pay TV, animation, and interactive programs. Specific techniques and script samples for writing high-quality and producible "spec" scripts for theatrical motion pictures, the sitcom series, one-hour dramatic series, longform television, soaps, talk show, variety, animation, interactive and new media are provided. Television and Screen Writing: From Concept to Contract, Fourth Edition also offers a fully detailed examination of the current marketplace, and distinct strategies for marketing your scripts, from registering and copyrighting the script to signing with an agent. This new edition has been expanded to include the most up-to-date creative and professional script samples, marketing resources, and practical information possible. The companion website offers a wide range of contacts and resources for you to explore, and Internet links to professional resources. There is also an Annotated and Selected Bibliography for your reference

Examining the vast breadth and diversity of contemporary documentary production, while also situating nonfiction film and video within the cultural, political, and socio-economic history of the region, this book addresses topics such as documentary aesthetics, indigenous media, and transnational filmmaking, among others.