In Sean Baker's award-winning 2017 film The Florida Project, a young girl, her single mother, and her friends live in rundown motels near Disney World, the children's summer fun contrasting with the grim conditions around them. In this book, J. J. Murphy delves deep into the movie's development and filming while also examining it within the wider context of Baker's career. Using production documents, different versions of the screenplay, and interviews with principal members of the production team, Murphy traces the evolution of The Florida Project from initial idea through its various stages of production. He highlights Baker's unconventional strategies in making a film about a marginalized subculture, including alternative scripting, guerrilla-like filmmaking, improvisation, and the unorthodox casting of local and first-time actors. Murphy also explores how Baker's impromptu style sometimes rankled crew members and caused a major crisis on set, revealing the difficulties indie filmmakers can face when working with professional crews on larger films. A lively analysis of this critically acclaimed movie, its director, and its production, The Florida Project also betters our understanding of contemporary independent cinema as a whole.

Children's printed handkerchiefs have a rich two hundred year history going all the way back to America's beginnings. Along with delighting generations of children with their colorful designs, these highly collectible items have also served a social and educational role. The earliest reflected Puritan influences, tending to be instructional, religious, and moralistic in nature. As industrial growth and prosperity changed, the very nature of childhood, sports and games, nursery rhymes, and fairy tales became more common subject matter. By the early twentieth century, storybook and comic strip characters began to appear, soon joined by such popular figures of mass culture as Mickey Mouse, Raggedy Ann, Davy Crockett, and Howdy Doody.

Trying to trade stock, bond, commodity and currency markets without intermarket awareness is like trying to drive a car without looking out the side and rear windows—very dangerous. In this guide to intermarket analysis, the author uses years of experience in technical analysis plus extensive charts to clearly demonstrate the interrelationshps that exist among the various market sectors and their importance. You'll learn how to use activity in surrounding markets in the same way that most people employ traditional technical indicators for directional clues. Shows the analyst how to focus outward, rather than inward, to provide a more rational understanding of technical forces at work in the marketplace.

In Sean Baker's award-winning 2017 film The Florida Project, a young girl, her single mother, and her friends live in rundown motels near Disney World, the children's summer fun contrasting with the grim conditions around them. In this book, J. J. Murphy delves deep into the movie's development and filming while also examining it within the wider context of Baker's career. Using production documents, different versions of the screenplay, and interviews with principal members of the production team, Murphy traces the evolution of The Florida Project from initial idea through its various stages of production. He highlights Baker's unconventional strategies in making a film about a marginalized subculture, including alternative scripting, guerrilla-like filmmaking, improvisation, and the unorthodox casting of local and first-time actors. Murphy also explores how Baker's impromptu style sometimes rankled crew members and caused a major crisis on set, revealing the difficulties indie filmmakers can face when working with professional crews on larger films. A lively analysis of this critically acclaimed movie, its director, and its production, The Florida Project also betters our understanding of contemporary independent cinema as a whole.

Praise for INTERMARKET ANALYSIS "John Murphy has done it again. He dissects the global relationships between equities, bonds, currencies, and commodities like no one else can, and lays out an irrefutable case for intermarket analysis in plain English. This book is a must-read for all serious traders." -Louis B. Mendelsohn, creator of VantagePoint Intermarket Analysis software "John Murphy's Intermarket Analysis should be on the desk of every trader and investor if they want to be positioned in the right markets at the right time." -Thom Hartle, President, Market Analytics, Inc. (www.thomhartle.com) "This book is full of valuable information. As a daily practitioner of intermarket analysis, I thought I knew most aspects of this invaluable subject, but this book gave me several new ideas. I thoroughly recommend it for beginners and professionals." -Martin Pring, President of Pring.com and editor of the Intermarket Review Newsletter "Mr. Murphy's Intermarket Analysis is truly the most efficient and unambiguous way to define economic and fundamental relationships as they unfold in the market. It cuts through all of the conflicting economic news/views expressed each day to provide a clear picture of the 'here and now' in the global marketplace." -Dennis Hynes, Managing Director, R. W. Pressprich "Master Murphy is back with the quintessential look at intermarket analysis. The complex relationships among financial instruments have never been more important, and this book brings it all into focus. This is an essential read for all investors." -Andrew Bekoff, Technical Strategist, VDM NYSE Specialists "John Murphy is a legend in technical analysis, and a master at explaining precisely how the major markets impact each other. This updated version provides even more lessons from the past, plus fresh insights on current market trends." -Price Headley, BigTrends.com, author of Big Trends in Trading

Andy Warhol, one of the twentieth century's major visual artists, was a prolific filmmaker who made hundreds of films, many of them - "Sleep", "Empire", "Blow Job", "The Chelsea Girls", and "Blue Movie" - seminal but misunderstood contributions to the history of American cinema. In the first comprehensive study of Warhol's films, J.J. Murphy provides a detailed survey and analysis. He discusses Warhol's early films, sound portraits, involvement with multimedia (including The Velvet Underground), and sexploitation films, as well as the more commercial works he produced for Paul Morrissey in the late 1960s and early 1970s. Murphy's close readings of the films illuminate Warhol's brilliant collaborations with writers, performers, other artists, and filmmakers. The book further demonstrates how Warhol's use of the camera transformed the events being filmed and how his own unique brand of psychodrama created dramatic tension within the works.

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer's own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

A restless wizard casts a spell, stars move ominously, and the story of Pelenor, the lost prince, begins. The old wizard had known for ages that real magic comes to those who first relish the magic of simple life. True wizards develop an extraordinary interest in the ordinary. But the old wizard wondered: what then does it mean to be interested? What power calls us and takes hold of us when we feel an interest? How does one feel more interested in the simplest of things? How does one listen to the nature of life? The wizard is led through dreams to the story of Pelenor, the unsteady, orphan voice in our hearts that cries for awakening, the forgotten prince. Abandoned by his father because he was inconvenient, living on the edge of a decaying kingdom, he is forced to flee when civil war erupts. Replete with magic, swashbuckling, and questions about the purpose of being, the story follows Pelenor's vagabond journey as he seeks for awakening.

A ghost cat, the Devil, a deceitful criminal, a father framed for murder, and a vulnerable young girl combine in this magical tale from the award-winning, critically acclaimed author of the Joe Grey feline mysteries, Shirley Rousseau Murphy, and her husband Pat J.J. Murphy.The Devil has been up to no good . . .Brad Falon, one of Satan's longtime puppets, orchestrated a deadly robbery and set up his old friend Morgan Blake to take the fall. Now, Morgan has been sentenced to life in prison, and his wife Becky and young daughter Sammie are devastated. Alone and afraid, in need of comfort and a friend, Sammie turns to Misto, the ghost cat.Behind bars, her father Morgan makes fast friends with an old con named Lee Fontana who knows a few tricks about outwitting evil. They plan a wily escape to bring the real killer to justice and clear Morgan's name for good. All it will take is outsmarting the Devil one more time. . . .

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Most films rely on a script developed in pre-production. Yet beginning in the 1950s and continuing through the recent mumblecore movement, key independent filmmakers have broken with the traditional screenplay. Instead, they have turned to new approaches to scripting that allow for more complex characterization and shift the emphasis from the page to performance. In Rewriting Indie Cinema, J. J. Murphy explores these alternative forms of scripting and how they have shaped American film from the 1950s to the present. He traces a strain of indie cinema that used improvisation and psychodrama, a therapeutic form of improvised acting based on a performer’s own life experiences. Murphy begins in the 1950s and 1960s with John Cassavetes, Shirley Clarke, Barbara Loden, Andy Warhol, Norman Mailer, William Greaves, and other independent directors who sought to create a new type of narrative cinema. In the twenty-first century, filmmakers such as Gus Van Sant, the Safdie brothers, Joe Swanberg, and Sean Baker developed similar strategies, sometimes benefitting from the freedom of digital technology. In reading key films and analyzing their techniques, Rewriting Indie Cinema demonstrates how divergence from the script has blurred the divide between fiction and nonfiction. Showing the ways in which filmmakers have striven to capture the subtleties of everyday behavior, Murphy provides a new history of American indie filmmaking and how it challenges Hollywood industrial practices.

Within the last twenty-five years, an enormous burst of creative production has emerged from American "independent" filmmakers. From "Stranger than Paradise" (1984) and "Slacker" (1991) to Gus Van Sant's "Elephant" (2003) and Miranda July's "Me and You and Everyone We Know" (2005), indie cinema has become part of mainstream American culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities which set them apart from ordinary Hollywood entertainment? "Me and You and Memento and Fargo" argues that the American independent feature film from the 1980s to the present has developed a distinct approach to filmmaking, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. There are many screenwriting manuals and guidebooks on the market, but they pose many problems for the aspiring independent filmmaker. First, they all rely on formulas believed to generate salable Hollywood films. For instance, most writers, including Syd Field ("Screenplay"), Richard Walter ("Screenwriting"), and Linda Seger ("Making a Good Script Great"), present a "three-act paradigm" as gospel and proceed to lay down very stringent rules for characterization, plotting, the timing of climaxes and so on. Some writers, notably Field and Seger, even go so far as to demand that the screenwriter present a dramatic turning point within specific pages. Even advice books that appear to be more open about such rules (e.g. Robert McKee's "Story") turn out to be just as inflexible in their advice. But the screenwriting manuals tend to ignore the fact that Hollywood companies do not want only the formula; they also want novelty (which is hard to teach as a set of rules). The independent filmmaker is usually aware of the rules but treats them as flexible guidelines, to be used as necessary but also to be rejected or reworked if it will be of creative benefit. The screenplay manuals have a second fault. On the rare occasions when they deal with independent films, they tend not to appreciate the genuine innovations that the films introduce. This is partly due to the fact that the manuals' authors are unaware of the historical tradition of independent cinema. Thus, McKee treats "Stranger than Paradise" as an "anti-plot" film. This category, however, cannot adequately analyse what the film does positively; it does not lack a plot, but rather has a different kind of plot. Ironically, it has a three-act structure, but the structure becomes geographical rather than plotted as a dramatic arc. Moreover, "Stranger than Paradise" derives its approach to storytelling from 1970s minimalist cinema, punk subculture, and the Beat tradition of "Shadows" and "Pull My Daisy". The fullest understanding of the independent film's innovations comes from an awareness of the historical tradition it continues. "Me and You and Memento and Fargo" offers a positive account of the various options open to the independent screenwriter. The book shows the broad range of creative principles that have been used in the narrative construction of independent films. One consequence of this is to show the uniqueness of this phenomenon by positioning it as a hybrid form that exists somewhere between the classical Hollywood tradition and "art cinema."