Required reading for filmmakers and cinephiles, screenwriters and writers, movie buffs and film aficionados: Conversations with the Great Moviemakers of Hollywood’s Golden Age: At the American Film Institute.
This is priceless:
- HAROLD LLOYD
- RAOUL WALSH
- FRANK CAPRA
- MERVYN LEROY
- GEORGE FOLSEY
- WILLIAM WYLER
- GEORGE CUKOR
- BILLY WILDER
- JOHN HUSTON
- RAY BRADBURY
- ELIA KAZAN
- FRED ZINNEMANN
- DAVID LEAN
- STANLEY CORTEZ
- ROBERT WISE
- RICHARD BROOKS
- STANLEY KRAMER
- HAL WALLIS
- JEAN RENOIR
- FEDERICO FELLINI
- INGMAR BERGMAN
- SATYAJIT RAY
The first book to bring together these interviews of master moviemakers from the American Film Institute’s renowned seminars—a series that has been in existence for almost forty years, since the founding of the Institute itself. Here are the legendary directors, producers, cinematographers and writers—the great pioneers, the great artists—whose work led the way in the early days of moviemaking and still survives from what was the twentieth century’s art form. The book is edited—with commentaries—by George Stevens, Jr., founder of the American Film Institute and the AFI Center for Advanced Film Studies’ Harold Lloyd Master Seminar series.
Here talking about their work, their art—picture making in general—are directors from King Vidor, Howard Hawks and Fritz Lang (“I learned only from bad films”) to William Wyler, George Stevens and David Lean. Here, too, is Hal Wallis, one of Hollywood’s great motion picture producers; legendary cinematographers Stanley Cortez, who shot, among other pictures, The Magnificent Ambersons, Since You Went Away and Shock Corridor and George Folsey, who was the cameraman on more than 150 pictures, from Animal Crackers and Marie Antoinette to Meet Me in St. Louis and Adam’s Rib; and the equally celebrated James Wong Howe.
Here is the screenwriter Ray Bradbury, who wrote the script for John Huston’s Moby Dick, Fahrenheit 451 and The Illustrated Man, and the admired Ernest Lehman, who wrote the screenplays for Sabrina, Who’s Afraid of Virginia Woolf and North by Northwest (“One day Hitchcock said, ‘I’ve always wanted to do a chase across the face of Mount Rushmore.’”). And here, too, are Ingmar Bergman and Federico Fellini (“Making a movie is a mathematical operation. It’s absolutely impossible to improvise”). These conversations gathered together—and published for the first time—are full of wisdom, movie history and ideas about picture making, about working with actors, about how to tell a story in words and movement.
A sample of what the moviemakers have to teach us: Elia Kazan, on translating a play to the screen: “With A Streetcar Named Desire we worked hard to open it up and then went back to the play because we’d lost all the compression. In the play, these people were trapped in a room with each other. As the story progressed I took out little flats, and the set got smaller and smaller.”
Ingmar Bergman on writing: “For half a year I had a picture inside my head of three women walking around in a red room with white clothes. I couldn’t understand why these damned women were there. I tried to throw it away… find out what they said to each other because they whispered. It came out that they were watching another woman dying. Then the screenplay started—but it took about a year. The script always starts with a picture…”
Jean Renoir on actors: “The truth is, if you discourage an actor you may never find him again. An actor is an animal, extremely fragile. You get a little expression, it is not exactly what you wanted, but it’s alive. It’s something human.”
And Hitchcock—on Hitchcock: “Give [the audience] pleasure, the same pleasure they have when they wake up from a nightmare.”
Arguably the most famous of all film directors, Hitchcock was very likely also the most interviewed; his career total is probably more than 1,000 interviews. That means that many of the 20 Gottlieb has collected will sound familiar to film buffs but also that Gottlieb had a wealth of material from which to choose. He has picked some gems, from throughout the five decades of Hitchcock’s career, covering his output from early talkies in England to the 1970s, when the colloquies assume a retrospective tone. Perhaps the most valuable and revealing of them is an unusually technical 1948 question-and-answer session with a gathering of professional cinema technicians. Other standouts: a confrontation with provocative Italian journalist Oriana Fallaci and an encounter with Andy Warhol that makes up in novelty what it lacks in informativeness. Even the more mundane entries offer the fun of watching Hitchcock play cat-and-mouse with the interviewer. Francois Truffaut’s exhaustive, book-length conversation may be the definitive Hitchcock interview, but this collection confirms that the celebrated director had much more to say. —Gordon Flagg, American Library Association
Letter from Alfred Hitchcock to François Truffaut, December 9, 1966
The most delightful film book in print.
The audio tapes of the interviews have not been released commercially. However, portions of the tapes were used for a French radio broadcast. Nearly 12 hours of the interviews were broadcast on French radio as a 25 part series. Each episode runs for just over 25 minutes.
And don’t forget to watch all the essential documentaries on Hitchcock, this one is a gem:
Alfred Hitchcock takes us inside his creative process in this fascinating 1964 program from the Canadian Broadcasting Corporation. “A Talk with Alfred Hitchcock” is part interview, part master class in the craft of telling stories on film. This 1964 interview of Alfred Hitchcock was part of the CBC television series Telescope with host-director Fletcher Markle. It was conducted during or immediately after the filming of Marnie and also contains interesting stories and comments from Alfred Hitchcock and his associates Norman Lloyd, Joan Harrison and Bernard Herrmann. There are clips from and during the making of several Hitchcock movies. While some of the recollections are part of Hitch’s standard interview material others are unique.
As a kid in Chicago, director William Friedkin liked to frighten little girls with scary stories. When he grew up, he scared the rest of us with a little girl — Regan MacNeil, who is possessed by the devil in his horror classic The Exorcist. And in The French Connection, he put knots in our stomachs with one of the great movie chases in American cinema. When Friedkin directed these films in the 1970s, he was breaking all the rules. In his new memoir, The Friedkin Connection, the 77-year-old director describes how he brought a new look — and a new feel — to Hollywood films.
He also writes about his earliest influences, including the first movie that inspired him as a young man: Citizen Kane. “I went in at noon, and I watched it five times that day,” Friedkin says of actor-director Orson Welles’ classic. “And I couldn’t believe it. When I came out, it was like standing in front of a Vermeer or a Rembrandt. That’s the effect it had on me.” Before Kane, movies were just entertainments for Friedkin. Kane was something different. “I didn’t know what the hell it was, but that’s what I wanted to do.” —Friedkin, Who Pushed Film Forward, Looks Back
How did you come to direct The French Connection?
The producer owned the rights to the book, which he brought to me in galleys more than two years ago. He had known that I had wanted to do a thriller, and I was very interested in the story. I thought it was marvelous. I had done a lot of documentaries that had sort of delved into this area. But I really wasn’t hooked on it until I went back to New York and met Egan and Grosso and started to hang out with them. Then we went through two disastrous screenplays over about nine months. They didn’t work out at all, didn’t have the chase in them, the writer just wasn’t sympathetic to the characters, the atmosphere, the life, etc. He got nothin’ on paper. So the project was dead. National General went out of production right in the middle of all these lousy scripts we had. The project was dead for about ten months. No studio would touch it. We finally got a script that we were happy with and took it to Fox. Dick Zanuck and David Brown, who were running Fox, liked the script, met with us, and said Go. We started shooting November 30 of 1970. Principal photography was about 65 days. The budget was $2,200,000. —Police Oscar: The French Connection (and an interview with William Friedkin), Film Quarterly, Summer 1972
More: Film books
Previously unseen photographs from Scorsese’s masterpiece. “There’s a ‘something big is fucking happening here’ vibe to Steve Schapiro’s photos. Kind of like those of Elvis backstage at the Ed Sullivan Show or the Beatles at Shea stadium, hell even FDR and Stalin and Churchill all huddled there together at Yalta. Something you catch in the eyes of the subjects that confirms that they know that you know there’s a game changing moment happening.”
Steve Schapiro was the special photographer on the set of Taxi Driver, capturing the film’s most intense and violent moments from behind the scenes. This book—more than a film still book but a pure photo book on its own—features hundreds of unseen images selected from Schapiro’s archives, painting a chilling portrait of a deranged gunman in the angry climate of the post-Vietnam era. —TASCHEN
Previously on Cinephilia and Beyond:
A truly magnificent scripts series: Taxi Driver original screenplay by Paul Schrader
“Film programme booklet produced for the London premiere of Fritz Lang’s Metropolis at the Marble Arch Pavilion on March 21, 1927. Not only a list of cast and crew, it includes eleven short pieces on the making of the movie, commentary from the director and cast, and numerous production photographs and film stills, many attractively arranged as modernist collages. One of the most interesting sections shows in parallel columns how a passage of film scenes was adapted from the novel of the same name by Lang’s wife, Thea von Harbou.” (source)
Published in March 1927
via Kabal, via Laura Massey (of Peter Harrington Book Shop)
Download (no OCR)
With thanks to PhilippeTheophanidis
ALEXCOX.COM Free Download Section:
10,000 WAYS TO DIE (1978)
My book about the Spaghetti Western - written in 1978. Deals with films made between 1963 and 1973.
Free .pdf, released under a Creative Commons
License (249 pp)
MOVIEDROME GUIDE 1 (1988-1990)
56 Cult Film Reviews from ACE INTHE HOLE to YOJIMBO.
MOVIEDROME GUIDE 2 (1991-1993)
62 Cult Film Reviews from AT CLOSE RANGE to WITCHFINDER GENERAL
BUGS ARE MY BUSINESS (1999)
a.k.a. THE SECRET LIFE OF DON LUIS BUÑUEL - the best script we never made - by Tod Davies
Please Kickstart this: Alex Cox directs Harry Harrison’s BILL THE GALACTIC HERO.
The diaries of the Russian filmmaker Andrei Tarkovsky cover his life and work in the Soviet Union and the time of his exile in Western Europe. He called his diaries Martyrolog about which he said in 1974: ‘Pretentious and false as a title, but let it stay as a reminder of my ineradicable, futile worthlessness.’ The diaries are deeply personal and were intended mainly for Tarkovsky himself. Some entries are seemingly trivial, as for example shopping lists or entries on his health. Another frequent topic are other film directors or artists, which Tarkovsky generally regarded with a negative attitude. At other time Tarkovsky discusses philosophical or film theoretical questions, not necessarily related to day to day events. Tarkovsky kept his diary until shortly before his death on December 29, 1986. The last entry was on December 15, 1986. His last words were ‘But now I have no strength left – that is the problem’.
After the 1991 coup several memos surfaced that alleged that the KGB had at times access to the diaries. Although Tarkovsky did not openly oppose the Soviet system, his work heavily emphasized spiritual themes, that were at conflict with the official anti-religious atheist ideology, prompting the KGB to open a file on him.
Tarkovsky on the set of Solaris.
Andrei Tarkovsky: A Poet in the Cinema (1983). Rare extensive interview with Master Director Andrei Tarkovsky conducted in 1983 by Donatella Baglivo.
This is brilliant.
Backstory 2: Interviews with Screenwriters of the 1940s and 1950s (edited by Pat McGilligan) features interviews with the screenwriters behind such films as: The Big Sleep, Rio Bravo, Singin’ in the Rain, Adam’s Rib, Rope, West Side Story, The Asphalt Jungle, Invasion of the Body Snatchers, The Wolf Man, Rebel Without a Cause, From Here to Eternity, Johnny Guitar, and Cat on a Hot Tin Roof (Leigh Brackett, Richard Brooks, Betty Comden, Adolph Green, Garson Kanin, Dorothy Kingsley, Arthur Laurents, Ben Maddow, Daniel Mainwaring, Walter Reisch, Curt Siodmak, Stewart Stern, Daniel Taradash, and Philip Yordan).
Backstory 3: Interviews with Screenwriters of the 1960s (also edited by Pat McGilligan) features interviews with the screenwriters behind such films as: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, In the Heat of the Night, Norma Rae, Anatomy of a Murder, Twilight Zone: The Movie, MASH, Rear Window, To Catch a Thief, The Man Who Knew Too Much, and The Wild Bunch (Jay Presson Allen, George Axelrod, Walter Bernstein, Horton Foote, Walon Green, Charles B. Griffith, John Michael Hayes, Ring Lardner Jr., Richard Matheson, Wendell Mayes, Irving Ravetch, Harriet Frank Jr., Arnold Schulman, Stirling Silliphant, and Terry Southern).
This list originally appeared on Film Studies For Free.
Open Access Film E-books List
Last updated January 31, 2013:
- Allen, Richard, Malcolm Turvey (eds), Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson (Amsterdam University Press, 2004)
- Armbrust, Walter, editor. Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond. Berkeley: University of California Press, c2000 2000
- Tim Barnard, South American Cinema: A Critical Filmography 1915–1994 (Originally University of Texas Press, 1996)
- Bay-Cheng, Sarah, Chiel Kattenbelt, Andy Lavender, Robin Nelson (eds), Mapping Intermediality in Performance (Amsterdam University Press, 2010)
- Bergfelder, Tim, Sue Harris, Sarah Street (eds), Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (Amsterdam University Press, 2007)
- Bijsterveld, K, J. Van Dijck (eds), Sound Souvenirs: Audio Technologies, Memory and Cultural Practices (Amsterdam University Press, 2009)
- Bloch, R. Howard, and Frances Ferguson, editors Misogyny, Misandry, and Misanthropy. Berkeley: University of California Press, c1989 1989
- Blom, Ivo, Jean Desmet and the Early Dutch Film Trade (Amsterdam University Press, 2004)
- Boomen, Marianne van den, Sybille Lammes, Ann-Sophie Lehmann, Joost Raessens, Mirko Tobias Schäfer (eds), Digital Material : Tracing New Media in Everyday Life and Technology (Amsterdam University Press, 2009)
- Bordwell, David, Ozu and the Poetics of Cinema
- Brunette, Peter, Roberto Rossellini. University of California Press, c1996 1996
- Burch, Noel, To the Distant Observer: Form and Meaning in the Japanese Cinema
- Burton, Julianne, The Social documentary in Latin America
- Byg, Barton. Landscapes of Resistance: The German Films of Danièle Huillet and Jean-Marie Straub. Berkeley: University of California Press, c1995 1995
- Clemens, Justin, Dominic Pettman, Avoiding the Subject: Media, Culture and the Object (Amsterdam University Press, 2004)
- Christie, Ian (ed.), Audiences: Defining and Researching Screen Entertainment Reception (Amsterdam: Amsterdam University Press, 2012)]
- Day, James. The Vanishing Vision: The Inside Story of Public Television. Berkeley: University of California Press, c1995 1995
- The Documentary Filmmakers’ Statement of Best Practices in Fair Use (Center for Social Media, 2012)
- Elsaesser, Thomas (ed), A Second Life: German Cinema’s First Decades (Amsterdam University Press, 1996)
- Elsaesser, Thomas (ed), Harun Farocki: Working on the Sight-Lines (Amsterdam University Press, 2004)
- Elsaesser, Thomas, Jan Simons, Lucette Bronk (eds), Writing for the Medium: Television in transition (Amsterdam University Press, 2004)
- Elsaesser, Thomas, European Cinema: Face to Face with Hollywood (Amsterdam University Press, 2005)
- Elsaesser, Thomas, Fassbinder’s Germany: History, Identity, Subject (Amsterdam University Press, 1996)
- Elsaesser, Thomas, Noel King, Alexander Horwath (eds), The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press, 2004)
- Flinn, Caryl. The New German Cinema: Music, History, and the Matter of Style. Berkeley: University of California Press, c2004 2004
- Fossati, Giovanna, From Grain to Pixel: The Archival Life of Film in Transition (Amsterdam University Press: Amsterdam, 2009)
- Frame, John M., Theology at the Movies
- Graham, Seth, ed. Necrorealism (Pittsburgh, 2001)
- Grainge, Paul (ed.), Memory and Popular Film (Manchester: Manchester University Press, 2003)
- Grønstad, Asbjørn, Transfigurations: Violence, Death and Masculinity in American Cinema Amsterdam, 2008)
- Grost, Mike, on Fritz Lang, Joseph H. Lewis, Vincente Minnelli, and Raoul Walsh
- Gutiérrez-Jones, Carl. Rethinking the Borderlands: Between Chicano Culture and Legal Discourse. Berkeley: University of California Press, c1995 1995
- Hagener, Malte, Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture, 1919-1939 (Amsterdam University Press, 2007)
- Hediger, Vinzenz, Patrick Vonderau (eds), Films that Work : Industrial Film and the Productivity of Media (Amsterdam University Press, 2009)
- New Katinka van Heeren, Contemporary Indonesian Film; Spirits of Reform and ghosts from the past (Leiden: KITLV Press, 2012)
- Heide, William van der, Malaysian Cinema, Asian Film: Border Crossings and National Culture (Amsterdam University Press, 2002)
- Henderson, Brian, and Ann Martin, editors. Film Quarterly: Forty Years - A Selection. Berkeley: University of California Press, c1999 1999
- Higashi, Sumiko. Cecil B. DeMille and American Culture: The Silent Era. Berkeley: University of California Press, c1994 1994
- Horton, Andrew, Play it again, Sam: retakes on remakes. Berkeley: University of California Press, c 1998 1998
- Iampolski, Mikhail. The Memory of Tiresias: Intertextuality and Film. Berkeley: University of California Press, c1998 1998
- Jacobs, Lewis, The Rise of the American Film: A Critical History
- Johnson, Randal, The film industry in Brazil: culture and the state
- Karlstrom, Paul J., editor On the Edge of America: California Modernist Art, 1900-1950. Berkeley: University of California Press, c1996 1996
- Sarah Keller and Jason N. Paul (eds), Jean Epstein: Critical Essays and New Translations (Amsterdam: Amsterdam University Press, 2012)
- Kenner, Hugh. Chuck Jones: A Flurry of Drawings, Portraits of American Genius. Berkeley: University of California Press, c1994 1994
- Kester, Bernadette, Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) (Amsterdam University Press, 2002)
- Kinder, Marsha. Playing with Power in Movies, Television, and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles. Berkeley: University of California Press, c1991 1991
- Kolker, Robert Philip, The Altering Eye
- Kooijman, Jaap, Fabricating the Absolute Fake: America in Contemporary Pop Culture (Amsterdam University Press, 2008)
- Kooijman, Jaap, Patricia Pisters, Wanda Strauven (eds), Mind the Screen: Media Concepts According to Thomas Elsaesser (Amsterdam University Press, 2008)
- Koivunen, Anu and Paasonen, Susanna (eds), Conference proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies (Media Studies, Turku 2000)
- Kracauer, Siegfried, From Caligari To Hitler: A Psychological History Of The German Film
- Laclos, Michel, Le Fantastique au cinéma (in French)
- Langdon, Jennifer E., Caught in the Crossfire: Adrian Scott and the Politics of Americanism in 1940s Hollywood
- Lauwaert, Maaike, The Place of Play: Toys and Digital Cultures (Amsterdam University Press, 2009)
- Lawrence, Amy. Echo and Narcissus: Women’s Voices in Classical Hollywood Cinema. Berkeley: University of California Press, c1991 1991
- Leyda, Jay, Kino A History Of The Russian And Soviet Film
- Lisboa, Maria Manuela, The End of the World: Apocalypse and its Aftermath in Western Culture (Open Book Publishers, 2011) [Apocalypse Now and Again; The World Gone M A D ; Is the End Ever; Falling Out with Hal and Hester; Utopia at the End of this; Libera Me Domine De Vita Æterna]
- MacKillop, Ian and Neil Sinyard (eds), British Cinema in the 1950s: A celebration (Manchester: Manchester University Press, 2003)
- Martin, Adrian, Last Day Every Day: Figural Thinking from Auerbach and Kracauer to Agamben and Brenez (Punctum Books, 2012)
- Matsumoto, Valerie J., and Blake Allmendinger, editors Over the Edge: Remapping the American West. Berkeley: University of California Press, c1999 1999
- McGilligan, Patrick. Backstory 2: Interviews with Screenwriters of the 1940s and 1950s. Berkeley: University of California Press, c1991
- McGilligan, Patrick. Backstory 3: Interviews with Screenwriters of the 60s. Berkeley: University of California Press, c1997 1997
- Mittell, Jason, Complex TV (in progress ebook; Media Commons, 2012 onwards)
- Münsterberg, Hugo, The Photoplay
- Murphy, Timothy S. Wising Up the Marks: The Amodern William Burroughs. Berkeley, Calif: University of California Press, c1997 1997
- Musser, Charles. Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. Berkeley: University of California Press, c1991 1991
- Paulino Bueno, Eva and Terry Caesar, Imagination beyond nation: Latin American popular culture
- Pearson, Roberta E. Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films. Berkeley: University of California Press, c1992 1992
- Puro, Jukka-Pekka and Sihvonen, Jukka (eds.), Unfolding Media Studies Working Papers 2010 (Turku: Media Studies, University of Turku, 2011) PDF
- Phillips, Alastair, City of Darkness, City of Light: Emigré Filmmakers in Paris 1929-1939(Amsterdam University Press, 2003)
- Pisters, Patricia, Wim Staat, Shooting the Family: Transnational Media and Intercultural Values (Amsterdam University Press, 2005)
- Prokhorov, Alexander, ed., Springtime for Soviet Cinema: Re/Viewing the 1960s (Pittsburgh, 2001)
- Pudovkin, V.I. Film Technique And Film Acting
- Richie, Donald, Japanese Cinema
- Riskin, Robert. Six Screen Plays by Robert Riskin. Berkeley: University of California Press, c1997 1997
- Ronald Duncan, Jean Cocteau: Diary of a Film
- Rosenbaum, Jonathan. Moving Places: A Life at the Movies. Berkeley: University of California Press, c1995 1995
- New Eivind Røssaak (ed.), Between Stillness and Motion Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2011)
- Rotha, Paul, Rotha On The Film A Selection Of Writings About The Cinema
- Rotha, Paul, The Film Till Now: A Survey of World Cinema
- Roy, Parama. Indian Traffic: Identities in Question in Colonial and Postcolonial India. Berkeley: University of California Press, c1998 1998
- Ruoff, Jeffrey, and Ruoff, Kenneth, The Memory of War: Hara Kazuo’s “The Emperor’s Naked Army Marches On”(London: Flicks Books, 1998)
- Saunders, Thomas J. Hollywood in Berlin: American Cinema and Weimar Germany. Berkeley: University of California Press, c1994 1994
- Schivelbusch, Wolfgang. In a Cold Crater: Cultural and Intellectual Life in Berlin, 1945-1948. Berkeley: University of California Press, c1998 1998
- Schoots, Hans, Living Dangerously: A Biography of Joris Ivens (Amsterdam University Press, 2000)
- Simons, Jan, Playing the Waves: Lars von Trier’s Game Cinema(Amsterdam University Press, 2007)
- Smoodin, Eric, and Ann Martin, editors. Hollywood Quarterly: Film Culture in Postwar America, 1945-1957. Berkeley: University of California, c2002 2002
- Steene, Birgitt, Ingmar Bergman: A Reference Guide (Amsterdam University Press, 2005)
- Strauven, Wanda, The Cinema of Attractions Reloaded (Amsterdam University Press, 2006)
- Tai, Hue-Tam Ho, editor. The Country of Memory: Remaking the Past in Late Socialist Vietnam. Berkeley: University of California Press, 2001
- Thompson, Kristin, Exporting Entertainment: American in the World Film Market 1907–1934 (British Film Institute, 1985)
- Thompson, Kristin, Herr Lubitsch Goes to Hollywood: German and American Film after World War I (Amsterdam University Press, 2005)
- Toepfer, Karl. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. Berkeley: University of California Press, c1997 1997
- Törnqvist, Egi, Between Stage and Screen: Ingmar Bergman Directs (Amsterdam University Press, 1996)
- Valck, Marijke de, Film Festivals: From European Geopolitics to Global Cinephilia (Amsterdam University Press, 2007)
- Valck, Marijke de, Malte Hagener (eds), Cinephilia: Movies, Love and Memory (Amsterdam University Press, 2006)
- Verhoeff, Nanna, Mobile Screens The Visual Regime of Navigation (Amsterdam University Press: Amsterdam 2012)
- Verhoeff, Nanna, The West in Early Cinema: After the Beginning (Amsterdam University Press, 2006 [on the emergence of the Western])
- Vidal, Belén, Figuring the Past: Period Film and the Mannerist Aesthetic (Amsterdam: Amsterdam University Press, 2012)
- Walker, Michael, Hitchcock’s Motifs (Amsterdam University Press, 2005)
- Walters, Suzanna Danuta. Lives Together/Worlds Apart: Mothers and Daughters in Popular Culture. Berkeley: University of California Press, 1992
- Wees, William C. Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film. Berkeley: University of California Press, c1992 1992
- Weis, Elisabeth, The Silent Scream - Alfred Hitchcock’s Soundtrack (Rutherford, Fairleigh: Dickinson University Press, 1982)
- Yeh, Wen-hsin, editor. Becoming Chinese: Passages to Modernity and Beyond. Berkeley: University of California Press, c2000 2000
- Youngblood, Gene, Expanded Cinema
- Zanger, Anat, Film Remakes as Ritual and Disguise: From Carmen to Ripley (Amsterdam University Press, 2006)
- Zielinski, Siegfried, Audiovisions: Cinema and Television as Entr’actes in History (Amsterdam University Press, 1999)
- Zolov, Eric. Refried Elvis: The Rise of the Mexican Counterculture. Berkeley: University of California Press, c1999 1999
From Luis Buñuel’s My Last
I recommend you read Buñuel’s self penned autobiography.
Previously on Cinephilia & Beyond:
- This documentary covers the years Luis Buñuel spent in Mexico making over 21 films
- Documentary profile of Luis Buñuel with comment from Catherine Deneuve, Fernando Rey, Jeanne Moreau, Carlos Fuentes, Jean-Claude Carriere
- Luis Buñuel: Un cinéaste de notre temps
Samuel Fuller, Independent Filmmaker Fuller presents a kind of Dictionary of Samuel Fuller: in the course of the film, one of the cinema’s great raconteurs covers pretty much everything from racism to communism, violence to crime, and from money problems to life during combat. His extraordinary passion is evident in every frame, and the direct connection between his worldview and his work as an artist is made abundantly clear in extracts from his films Pickup on South Street, Forty Gunsand Shock Corridor. The title is taken from Fuller’s self-introduction in Godard’s Pierrot le Fou. (68m).
Samuel Fuller by Nicholas Garnham (1971, out-of-print):
For further reading: Samuel Fuller by Phil Hardy (1971); Samuel Fuller by Nicholas Garnham (1971); Cahiers du Cinéma: The 1950s: Neo-Realism, ed. by Jim Hillier (1985); Fuller, Samuel by Olivier Amiel (1985); Il était une fois — Samuel Fuller: histoires d’Amérique racontées à Jean Narboni et Noël Simsolo, préface Martin Scorcese (1986); Sam Fuller. Film is a Battleground by Lee Server (1994); The Film Encyclopedia by Ephrain Katz (1994); Rikoksen hehku by Peter von Bagh (1997); A Third Face: My Tale of Writing, Fighting and Filmmaking by Samuel Fuller, Christa Lang Fuller and Jerome Henry Rudes (2004); The Films of Samuel Fuller: If You Die, I’ll Kill You by Lisa Dombrowski (2008); Maximum Movies - Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson by Peter Stanfield (2011); Samuel Fuller: Interviews, ed. by Gerald Peary (2012) - Note: Fuller’s birth year in some sources 1912. “Everything that Fuller touched, whether it was a war story or a western or a deep-sea adventure, he stamped with his own unmistakable signature, with a raw energy that animates his crude reactionary themes. It is not possible to talk of Fuller’s career in terms of progression or decline because his cranky, kinetic style is as apparent in his first film, I Shot Jesse James (1949), as in one of his most recent, the vividly-titled Dead Pigeon on Beethoven Street (1975). Fuller is a law unto himself, Hollywood’s great primitive, whose film noirs, true to form, are not quite the same as anyone else’s.” (Foster Hirsch in The Dark Side of the Screen, 1981)
I finished reading Kuleshov’s The ABCs of Film Directing – which was never published in the US – and took notes on every section. The book is in Russian, but it has diagrams and animated pictures that you can refer to. I made sure to note some of these images in the notes. You can also use the book as a reference while you’re reading the notes because I noted page numbers of each section so you’ll at least be able to get a ‘clearer’ picture. Again some of you may know this info, but I’m posting it anyways – there’s some good info in there. Get both of the files below. I intend on posting more material and different kind of writings from Kuleshov and other well known film theorists.
(NOTE: For educational purposes only)
L.M. Kit Carson Interview | The A.V. Club
This book is the companion volume to “Emotion Pictures”. In the book Wenders moves from a contemplation of pure cinema, to a consideration and analysis of his own films. Beginning with the question: Why do you make films?, Wenders expresses his own unique approach to cinema. He then proceeds to discuss the full range of his work, from “Summer in the City” and his early German films, through to “Paris, Texas” and “Wings of Desire”.
The Logic of Images: Essays and Conversations available from Amazon.
Kubrick actually made the transition from photography to film after reading Pudovkin’s Film Technique, believe it or not — well, you’ll believe it after you read what the man himself has said…
“The most influential book I read at that time was Pudovkin’s Film Technique. It is a very simple unpretentious book that illuminates rather than embroiders. It certainly makes it clear that film cutting is the one and only aspect of films that is unique and unrelated to any other art form. I found this book much more important than the complex writings of Eisenstein.” —Stanley Kubrick
DOWNLOAD: Film Technique And Film Acting
Alfred Hitchcock and his favorite cinematographer, Robert Burks, frame a shot of North by Northwest.
In this 1965 interview, Hitchcock discusses - partly in French - “La Mort aux Trousses” (French title for “North by Northwest”), and in particular the famous “that’s funny - he’s dusting crops where there ain’t no crops” scene.
North By Northwest Script – 1958 shooting draft for reading pleasure.
Classic American Films: Conversations with the Screenwriters available from Amazon.