Your cart is empty
Showing 1 - 14 of 14 matches in All departments
Whether it's Double Indemnity, Kiss Me Deadly, or The Big Sleep, roam a screen world of dark and brooding elegance with this essential handbook to Film Noir. From private eyes and perfect crimes to corrupt cops and doomed affairs, editors Paul Duncan and Jurgen Muller examine noir's key themes and their most representative movies from 1940 to 1960.Copiously illustrated with film stills as well as original posters, this book offers page after page of noir's masterful visual compositions while exploring the narrative paradigms of this cryptic, compelling, and evolving genre. If that weren't enough to tickle your cinematic appetite, the volume concludes with TASCHEN's top 50 pick of noir classics. Brimming with the enigmatic dames, desperate gangsters, and psycho killers that continue to cast a long and captivating shadow over cinema, this is a must-have handbook for noir aficionados and amateurs alike.
Film noir is one of the most enduring and popular genres in cinema. But it did not spring up spontaneously fully formed. Rather its origins can be traced to sources as varied as Victorian literature German Expressionism and American art and photography. In this comprehensive collection of essays that's packed with illustrations and artwork a team of eminent scholars and film writers present thorough analyses of the influence of prototypes on the classic period of film noir.THSome essays focus on particularly influential genres such as the rogue cop film and gothic thrillers; while others discuss the choices of individual filmmakers including John Ford and Alfred Hitchcock in their most well-loved films.THThe editors and all of the featured contributors a Sheri Chinen Biesen Todd Erickson Richard Edwards Julie Grossman Robert Miklitsch Homer Pettey Robert Porfirio Tom Ryall Marlisa Santos Jesse Schlotterbeck and Tony Williams a are noted scholars in the field of film noir most of whom have written book-length studies of their own.THFrom the gangster and horror genres to social realism and Hitchcock's spy films of the 1930s EFilm Noir PrototypesE offers compelling accounts of the genre's influences. As befits the topic over 300 illustrations keyed to the text capture the richness and breadth of the classic period's imagery.
Film buffs explore the world of noir cinema in a Los Angeles
context with this guide to noir films and their California
settings. This book illustrates how these films use L.A.'s diverse
cityscape and architecture to convey a unique vision of urban
corruption and existential fatalism, in both the gritty downtown
area and the outlying affluent communities like Malibu and Beverly
Hills. Dozens of noir and neo-noir films are featured including
classics such as "Double Indemnity," "Kiss Me Deadly," "Sunset
Boulevard," and "Touch of Evil "and more recent films such as
"Mulholland Drive" and "Pulp Fiction." More than 150
photographs--many never before published--further illustrate the
rich and constantly changing backdrop of these movies.
This bountiful anthology combines all the key early writings on film noir with many newer essays, including some published here for the first time. Part one reprints eight seminal essays that classify and analyse the period and its product and also offers the initial extensive discussion of film noir in English. In Part Two there are 'case studies' of individual film and film makers. Part Three probes deeper into the question 'What Is This Thing Called Noir?' -- the title of one of the new essays. Other original pieces consider such issues as narrative structure, the femme fatale, the influence of film noir on early television and, finally the rebirth of the genre in the neo-noir films of our own day.
Noted film noir authority James Ursini (The Film Noir Reader series, L.A. Noir, and numerous DVD commentaries) analyzes the work of five underrated independent directors--Hugo Haas, Reginald LeBorg, Ida Lupino, Gerd Oswald, and Edgar G. Ulmer. This lavishly illustrated study examines their films as works of art and their careers as outsiders who directed films on the edge of Hollywood and paved the way for the modern American independent film movement.
Cinema of Obsession traces the history of obsessive love and erotic fixation. Seminal works of obsession, The Blue Angel, Peter Ibbetson, and Phantom of the Opera are seen as setting the groundwork for films that follow. The book defines and surveys examples of the explosive nature of amour fou, issues of male control (no matter how tenuous), and the fugitive couple - love on the run - in such films as Romeo and Juliet, Last Tango in Paris, Vertigo, Basic Instinct, and Wild at Heart. Male masochism is explored through film noirs, including Criss Cross, The Killers, Gilda, and The Postman Always Rings Twice. The book shifts gears in its finale and concentrates on the female gaze, films of female obsession: Jane Eyre, The Piano, The Lover, Fatal Attraction, and Vanilla Sky.
The Modern Amazons: Warrior Women on Screen documents the public's seemingly insatiable fascination with the warrior woman archetype in film and on television. The book examines the cautious beginnings of new roles for women in the late fifties, the rapid development of female action leads during the burgeoning second-wave feminist movement in the late sixties and seventies, and the present-day onslaught of female action characters now leaping from page to screen. The book itself is organized into chapters that group women warriors into sub-genres, e.g., classic Amazons like Xena Warrior Princess and the women of the Conan films; superheroes and their archenemies such as Wonder Woman, Batgirl, and Catwoman; revenge films such as the Kill Bill movies; Sexploitation and Blaxploitation films such as Coffy and the Ilsa trilogy; Hong Kong cinema and warriors like Angela Mao, Cynthia Rothrock, and Zhang Ziyi; sci-fi warriors from Star Trek, Blade Runner, and Star Wars; supersleuths and spies like the Avengers and Charlie's Angels; and gothic warriors such as Buffy the Vampire Slayer and Kate Beckinsale in Underworld and Van Helsing. In addition, the book is lavishly illustrated with over 400 photos of these popular-culture icons in action, interesting articles and sidebars about themes, trends, weapons, style, and trivia, as well as a complete filmography of more than 150 titles.
(Limelight). Noted film noir historians Alain Silver and James Ursini, acting as editors, concentrate in this work on the thirty key directors of the classic noir period. These include well-known luminaries, such as Orson Welles, Billy Wilder, Nicholas Ray, and Joseph Losey as well as lesser-known lights of noir, such as Gerd Oswald, Felix E. Feist, Ida Lupino, and John Brahm. Each article will include a short biography of the director, a list of their major noir films, as well as a deep analysis of the films themselves. The book boasts over two dozen collaborators from the world of film history and criticism. Lavishly illustrated with high-resolution photos illustrating the points made by the authors, this book is a must for any aficionado of the American style of film noir.
The Third and most recent edition of The Vampire Film featuring a new chapter, "The Vampire at the Millennium," was released in October 1996 to coincide with the centennial of Stoker's novel Dracula. More vampire films have been produced since the First Edition of The Vampire Film appeared in 1974 than in the entire history of motion pictures prior to that year. The first completely revised and updated edition was published in 1993. The Third Edition, at over 340 pages in length and with well over 200 illustrations, insures that what began as the first book-length study of the subject in 1974 remains the most comprehensive available. The authors, Alain Silver and James Ursini, are continuing their research for future revisions and invite comments from their readers.
The earlier Film Noir Readers, which now boast a combined sale of well over 30,000 copies, have all quite deliberately conveyed a sweeping overview of the classic period, demonstrating how broad and inclusive noir movies are. Film Noir Reader 4 moves in a different direction. Its purpose is to identify the key films and motifs of noir and to analyze in depth the prototypical pictures that, while vivid examples of certain cinematic themes, bend and break their molds to find new ways to enthrall and frighten us. Like its predecessors, Film Noir Reader 4 is generously illustrated and features essays by such respected film critics and scholars as Robin Wood, J.P. Telotte, R. Barton Palmer, and Robert Porfirio. All have as their purpose to explain why and how these classic films work; the way screenplay, direction, acting, cinematography, editing and all the other filmmaking crafts blended together to produce work that exemplifies both a particular movement in film history and the innovations that keep the noir style fresh and compelling.
The photos in this book include production stills from many noir gems which illustrate the style and capture the impact of this atmospheric cinematic genre. The accompanying text explores the origins of noir and its history from the early 1940s to the present day.
(Limelight). From the femme fatale of the early cinema to her post-feminist rebirth, this lavishly illustrated book and comprehensive guide traces the history of these dangerously alluring, manipulative, and desperate lethal ladies. Femme Fatale surveys the history of the femme fatale in world cinema, with more than 300 photographs testifying to the power of these mysterious women. The book begins with the silent period and its vamps, like Theda Bara, Pola Negri, Clara Bow, and Bebe Daniels, then moves on to the Pre-Code sound period of American films, which, showing liberated attitudes toward sex and women, featured actresses like Jean Harlow, Marlene Dietrich, and Greta Garbo. The story continues with the noir 1940s, when the femme fatale became truly lethal including actresses like Ava Gardner, Rita Hayworth, and Barbara Stanwyck. In the repressive 1950s, the international femme fatale took the fore Brigitte Bardot, Maria Felix, Elizabeth Taylor, Anita Ekberg, etc. Finally, the authors turn to the revolutionary post-feminist modern period, with an array of lethal ladies from all over the world, like Pam Grier, Salma Hayek, Gong Li, Angelina Jolie, and Sharon Stone.
Roger Corman just might be one of the most influential filmmakers in the history of motion pictures. Not because of his work as a director, although he has directed more than 600 movies, and not because of his success as a producer -- although, as the title of his autobiography boasts, he has made more than 100 pictures and never lost a dime. He might be one of the most influential filmmakers because, along the way to directing and producing more than 200 films, he ran a de facto school for young filmmakers, the alumni of which have garnered more money and awards than any other group in film history. Among them are James Cameron, Francis Coppola, and Jonathan Demme. Through research and a series of interviews with Corman, the authors trace his humble beginnings in post-World War II Hollywood to his current mythic status as the Godfather of all independent movie makers. Discussed in detail are each of Corman's films as a director -- from such two-day wonders as Little Shop of Horrors to such studio pictures as St Valentine's Day Massacre.
You may like...
Oball Cars (Assorted)
Venom - 2D / 3D
Tom Hardy, Michelle Williams, … Blu-ray disc
Stokvels - How They Can Make Your Money…
Palesa Lengolo Paperback
Mecer Xpression Z140C+W 14" Atom…
Captain Marvel - 2D / 3D
Brie Larson, Samuel L. Jackson, … Blu-ray disc
The Girl In The Spider's Web
Claire Foy, Lakeith Stanfield, … Blu-ray disc
Reebok Wrist Weights - 1.5Kg
Reebok Ankle Weights - 0.5Kg
Rapid Galvanised Standard Staples…
R22 Discovery Miles 220
Ferrari Ruler (18cm)