krainaksiazek conservation film making how to make films that make a difference 20049825

- znaleziono 12 produktów w 3 sklepach

Make Your Story a Movie - 2836099077

107,50 zł

Make Your Story a Movie Saint Martin's Griffin,U.S.

Książki / Literatura obcojęzyczna

Every author wants to see his story on the screen. A movie based on the author's work is the pinnacle of commercial success, bringing authors to fame and fortune, and book sales to otherwise unattainable heights. Eight of the top ten biggest-grossing films of all time are adaptations, and the world's top-earning authors all have heavy film involvement. Yet there is no book to guide authors to this promised land. Marlow fills this gap, showing writers how to navigate the path from story through adaptation to the often baffling world of Hollywood deal-making. Far from being yet another general book on screenwriting, this book specifically addresses the process from the non-screenwriting storyteller's point of view.

Sklep: Libristo.pl

On Film Making - 2836340074

135,04 zł

On Film Making FABER & FABER

Książki / Literatura obcojęzyczna

This is an invaluable analysis of the director's art and craft, from one of the most revered of all film school directors. Alexander 'Sandy' Mackendrick directed classic "Ealing" comedies plus a Hollywood masterpiece, "Sweet Smell of Success". But after retiring from film-making in 1969, he then spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles. Mackendrick produced hundreds of pages of masterly handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, Mackendrick's teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspirant film-maker.

Sklep: Libristo.pl

Making Video Dance - 2843688145

174,99 zł

Making Video Dance

Książki Obcojęzyczne>Angielskie>The arts>Dance & other performing arts>DanceKsiążki Obcojęzyczne>Angielskie>The arts>Film, TV & r...

Including Exercises, A Production Diary, And Interviews From Both Sides Of The Camera, This Is A 'how-to' Manual For Choreographers, Dancers, And Students Who Want To Make Dance Films. It Combines Practical Help With Aesthetic Discussion In An Anecdotal S

Sklep: Gigant.pl

Our Kind of Movie - 2826753057

72,33 zł

Our Kind of Movie University Press Group Ltd

Książki / Literatura obcojęzyczna

"We didn't think of our movies as underground or commercial or art or porn; they were a little of all of those, but ultimately they were just 'our kind of movie.'"--Andy Warhol Andy Warhol was a remarkably prolific filmmaker, creating more than 100 movies and nearly 500 of the film portraits known as Screen Tests. And yet relatively little has been written about this body of work. Warhol withdrew his films from circulation in the early 1970s and it was only after his death in 1987 that they began to be restored and shown again. With "Our Kind of Movie" Douglas Crimp offers the first single-authored book about the full range of Andy Warhol's films in forty years--and the first since the films were put back into circulation. In six essays, Crimp examines individual films, including Blow Job, Screen Test No. 2, and Warhol's cinematic masterpiece The Chelsea Girls (perhaps the most commercially successful avant-garde film of all time), as well as groups of films related thematically or otherwise--films of seductions in confined places, films with scenarios by Ridiculous Theater playwright Ronald Tavel. Crimp argues that Warhol's films make visible new, queer forms of sociality. Crimp does not view these films as cinma-vrit documents of Warhol's milieu, or as camera-abetted voyeurism, but rather as exemplifying Warhol's inventive cinema techniques, his collaborative working methods, and his superstars' unique capabilities. Thus, if Warhol makes visible new social relations, Crimp writes, that visibility is inextricable from his making a new kind of cinema. In "Our Kind of Movie" Crimp shows how Warhol's films allow us to see against the grain--to see differently and to see a different world, a world of difference.

Sklep: Libristo.pl

Shadow of the Sun - 2212824581

40,80 zł

Shadow of the Sun Penguin

Literatura faktu

'Only with the greatest of simplifications, for the sake of convenience, can we say Africa. In reality, except as a geographical term, Africa doesn't exist'. Ryszard Kapuscinski has been writing about the people of Africa throughout his career. In a study that avoids the official routes, palaces and big politics, he sets out to create an account of post-colonial Africa seen at once as a whole and as a location that wholly defies generalised explanations. It is both a sustained meditation on the mosaic of peoples and practises we call 'Africa', and an impassioned attempt to come to terms with humanity itself as it struggles to escape from foreign domination, from the intoxications of freedom, from war and from politics as theft. The Beginning: Collision, Ghana 1958 More than anything, one is struck by the light. Light everywhere. Brightness everywhere. Everywhere, the sun. Just yesterday, an autumnal London was drenched in rain. The airplane drenched in rain. A cold, wind, darkness. But here, from the morning

Sklep: Albertus.pl

Movie Speak - 2839139838

48,61 zł

Movie Speak WORKMAN PUBLISHING

Książki / Literatura obcojęzyczna

A Lewinsky? A futz? A cowboy? A Groucho? A Brodkin? A Double Brodkin? The Castle Rock Rule? The phrase 'Nobody moves, nobody gets hurt'? Without the vivid, fascinating, and often hilarious secret language of movie making, much of it rooted in movie history, films could never get made. Film veteran Tony Bill shares his insight and knowledge in more than 450 enlightening straight-from-the-set definitions, while also offering his invaluable advice on film making do's and don'ts in a handful of longer essays on everything from dealing with a difficult actor to movie making in the digital age. This book is essential reading for anyone who's passionate about film, would like to work in film, or already is working there, and wants or needs a Berlitz-like crash course in how to act and speak like a native. And for the thousands of film students in this country alone, Tony Bill provides a window into the exciting, privileged world of movie making and the tools to 'fake it till you make it'.

Sklep: Libristo.pl

Oliver Stone - 2826884202

91,57 zł

Oliver Stone Roundhouse Publishing Ltd

Książki / Literatura obcojęzyczna

Throughout his career Oliver Stone (b. 1946) has broken traditions and challenged audiences with a series of daring, angry, violent, and often confrontational films. Politically charged movies such as "Nixon" (1995), "JFK" (1991), and "Wall Street" (1987), and his Vietnam trilogy of "Platoon" (1986), "Born on the 4th of July" (1989), and "Heaven and Earth" (1993) provoke and enrage critics and audiences from all ideological walks. In a short time, Stone has established himself as one of the most admired and most reviled directors in American cinema. Ranging from 1981 to 1997, the fifteen conversations featured in "Oliver Stone: Interviews" reveal a man frustrated by what he sees as the hypocrisies of American politics, of conservatism, and of the Hollywood film industry. But the conflicts and tensions these issues generate spellbind him. In the interviews, Stone comes off as a man as brash, outspoken, confident, and complicated as his movies. His obsessions -- the 1960s, the ways in which Vietnam shaped the country, the nature of violence, and the role of the media in shaping it -- resurface again and again, no matter what film Stone is discussing. Though the subjects of "Nixon," "JFK," "Born on the 4th of July," "The Doors" (1991), and "Heaven and Earth" are rooted in the turbulent 1960s, Stone as interviewee and filmmaker is firmly entrenched in the present. He fiercely discusses how the attitudes and political effects of the 1960s have defined later decades and generations, as he talks about his satire of the stock market ("Wall Street," 1987) and media exposure ("Natural Born Killers," 1994). Bolts of the director's raw wit and enthusiasm for the cinema shine through all of Stone's ferocious rage. Stone loves writing as well as directing. Whether discussing his screenplays written for other directors -- which include "Scarface" (1983), "Midnight Express" (1978), or "Conan the Barbarian" (1982, with director John Milius) -- or his own films, Stone emphasizes how crucial screenwriting is to making great movies. "Directing is a natural extension of writing," he says in a 1987 interview with Michel Ciment. "A director can always pull through with noise everywhere and his colleagues around. I don't think a good director can make a good film with a bad screenplay, but a bad director can deliver an acceptable film if he has a good screenplay. So for me, that's the number one priority." Charles L. P. Silet is a professor of English at Iowa State University.

Sklep: Libristo.pl

Letter from America - 2212824618

40,80 zł

Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

Sklep: Albertus.pl

Indelible Shadows - 2826764994

208,53 zł

Indelible Shadows Cambridge University Press

Książki / Literatura obcojęzyczna

Indelible Shadows investigates questions raised by films about the Holocaust. How does one make a movie that is both morally just and marketable? Annette Insdorf provides sensitive readings of individual films and analyzes theoretical issues such as the 'truth claims' of the cinematic medium. The third edition of Indelible Shadows includes five additional chapters that cover recent trends, as well as rediscoveries of motion pictures made during and just after World War II. It addresses the treatment of rescuers, as in 'Schindler's List'; the controversial use of humor, as in 'Life is Beautiful'; the distorted image of survivors, and the growing genre of documentaries that return to the scene of the crime or rescue. The annotated filmography offers capsule summaries and information about another hundred Holocaust films from around the world, making this edition an extremely comprehensive discussion of films about the Holocaust, and an invaluable resource for film programmers and educators.

Sklep: Libristo.pl

Steven Spielberg - 2826861132

127,24 zł

Steven Spielberg Roundhouse Publishing Ltd

Książki / Literatura obcojęzyczna

Steven Spielberg has become a brand name and a force that extends far beyond the movie screen. Phrases like "phone home" and the music score from "Jaws" are now part of our cultural script, appearing in commercials, comedy routines, and common conversation. Yet few scholars have devoted time to studying Spielberg's vast output of popular films despite the director's financial and aesthetic achievements. Spanning twenty-five years of Spielberg's career, "Steven Spielberg: Interviews" explores the issues, the themes, and the financial considerations surrounding his work. The blockbuster creator of "E.T.," "Jaws," and "Schindler's List" talks about dreams and the almighty dollar. "I'm not really interested in making money," he says. "That's always come as the result of success, but it's not been my goal, and I've had a tough time proving that to people." Ranging from Spielberg's twenties to his mid-fifties, the interviews chart his evolution from a brash young filmmaker trying to make his way in Hollywood, to his spectacular blockbuster triumphs, to his maturation as a director seeking to inspire the imagination with meaningful subjects. The Steven Spielberg who emerges in these talks is a complex mix of businessman and artist, of arrogance and insecurity, of shallowness and substance. Often interviewers will uncover the director's human side, noting how changes in Spielberg's personal life -- marriage, divorce, fatherhood, remarriage -- affect his movies. But always the interviewers find keys to the story-telling and filmmaking talent that have made Spielberg's characters and themes shape our times and inhabit our dreams. "Every time I go to a movie, it's magic, no matter what the movie's about," he says. "Whether you watch eight hours of "Shoah" or whether it's "Ghostbusters," when the lights go down in the theater and the movie fades in, it's magic." Lester D. Friedman teaches medical humanities and bioethics at Upstate Medical University and cinema studies in the College of Visual and Performing Arts at Syracuse University. Brent Notbohm of Spring Green, Wisconsin, is a freelance instructor of film production and media studies. He has written and directed several films and videos independently and as a graduate student at Syracuse University's College of Visual and Performing Arts.

Sklep: Libristo.pl

Digital SLR Video and Filmmaking For Dummies - 2827080420

122,59 zł

Digital SLR Video and Filmmaking For Dummies Wiley

Książki / Literatura obcojęzyczna

Step-by-step guide for using your digital SLR to make quality video§With digital SLR cameras becoming more and more popular as replacements for standalone video cameras, this book helps photographers become better videographers and shows videographers how to incorporate DSLRs into their work. The book includes an overview of the DSLR video tools and process and shows how to establish camera settings for effective capture, light a scene, get sound, and achieve the film look. The book also offers the basics on editing footage into a final product using common video editing tools.§Offers everything needed to shoot, produce, and edit a professional looking videos using DSLR video equipment§Written for both professional photographers and videographers and those just starting out§Includes the steps for applying information to a film project, including developing a screenplay, approaching shooting like a cinematographer, and directing§Contains a walkthrough of common video projects including making a music video, a wedding video, and video greeting card§Digital SLR Video and Filmmaking for Dummies is designed to help photographers ramp up their video skills, videographers add DSLRs to their toolkits, and amateurs begin shooting their own short films and videos.

Sklep: Libristo.pl

Designing For Screen - 2843685937

87,49 zł

Designing For Screen

Książki Obcojęzyczne>Angielskie>The arts>Film, TV & radio>Films, cinema>Film production: technical & background skills

Design Is At The Essence Of Storytelling, But How Does A Production Find Its Style And Identity? This Book Explains How To Approach Design, Whether For Film, Television, Video Promo Or Commercial Making, And Introduces The Techniques Needed To Make Ideas

Sklep: Gigant.pl

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