***"A rip-roaring read. It left me breathless."- Chris Evans, Virgin Radio Breakfast Show "Riveting."- The New York Times "... a Hollywood movie in itself." - Spike Lee "Raw, savagely honest, as dramatic as any of his movies." - Mail on Sunday "A tremendous book - readable, funny and harrowing." - The Sunday TimesIn this powerful and evocative memoir, Oscar-winning director and screenwriter, Oliver Stone, takes us right to the heart of what its like to make movies on the edge. In Chasing The Light he writes about his rarefied New York childhood, volunteering for combat, and his struggles and triumphs making such films as Platoon, Midnight Express, and Scarface. Before the international success of Platoon in 1986, Oliver Stone had been wounded as an infantryman in Vietnam, and spent years writing unproduced scripts while taking miscellaneous jobs and driving taxis in New York, finally venturing westward to Los Angeles and a new life. Stone, now 73, recounts those formative years with vivid details of the high and low moments: we sit at the table in meetings with Al Pacino over Stones scripts for Scarface, Platoon, and Born on the Fourth of July; relive the harrowing demon of cocaine addiction following the failure of his first feature, The Hand (starring Michael Caine); experience his risky on-the-ground research of Miami drug cartels for Scarface; and see his stormy relationship with The Deer Hunter director Michael Cimino. We also learn of the breathless hustles to finance the acclaimed and divisive Salvador; and witness tensions behind the scenes of his first Academy Award-winning film, Midnight Express.The culmination of the book is the extraordinarily vivid recreation of filming Platoon in the depths of the Philippine jungle with Kevin Dillon, Charlie Sheen, Willem Dafoe, Johnny Depp et al, pushing himself, the crew and the young cast almost beyond breaking point.Written fearlessly, with intense detail and colour, Chasing the Light is a true insiders story of Hollywoods years of upheaval in the 1970s and 80s, and Stone brings this period alive as only someone at the centre of the action truly can.

The hilarious debut novel from the Oscar-winning screenwriter of Being John Malkovich, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York.Riotously funny New York Times Just as loopy and clever as his movies Washington Post B. Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, filmmaker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film by an enigmatic outsider a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete. Convinced that the film will change his career trajectory and rock the world of cinema to its core, that it might possibly be the greatest movie ever made, B. knows that it is his mission to show it to the rest of humanity. The only problem: the film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius. All thats left is a single frame from which B. must somehow attempt to recall the work of art that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to re-create the lost masterwork while attempting to keep pace with an ever-fracturing culture of likes and arbitrary denunciations that are simultaneously his bete noire and his raison detre. A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself the grain of truth at the heart of every joke.

Consacré par trois prix dont la Palme d’or au Festival de Cannes en 1991, Barton Fink, quatrième film des frères Coen, inscrit son propos dans une filiation multiple : film de cinéma sur le cinéma, d

Disparue le 19 octobre 1997, Pilar Miró est très connue en Espagne, où elle exerça des charges politiques et subit deux procès qui connurent un énorme retentissement médiatique. Toutefois, en-dehors

From Mr Darcy diving into the lake at Lyme to Harry Potter exploring the cloisters at Lacock Abbey, National Trust on Screen goes behind the scenes of some of the most iconic film and TV moments. Ranging from lavish costume dramas such as Poldark and Wolf Hall to epic fantasies including Game of Thrones and The Dark Knight Rises, the historic houses and stunning landscapes of the National Trust have been chosen as backdrops by some of the worlds most famous directors.This fact-filled guidebook is organised geographically enabling the planning of single visits or entire adventure trips.Films and TV series featured: Poldark, Sense and Sensibility, Wolf Hall, The Other Boleyn Girl, the Harry Potter films, The Duchess, The Crown, Snow White and the Huntsman, Never Let Me Go, Remains of the Day, Miss Potter, The History Boys, Game of Thrones and many many more.

Who gives the hammiest performance in a Bond film? What is the series most cringeworthy moment? What quips would Sir Roger Moore come out with if he starred in Licence to Kill? These are the sort of questions you never knew you needed answering. Its Bond, James Bond but as youve never seen him before.

Jean Grémillon et les quatre Éléments entend, sinon réhabiliter, du moins rendre un hommage renouvelé à l’un des cinéastes majeurs de l’école française du vingtième siècle, un créateur qui occupe une

" Certains parlent de hasard, moi je crois au destin. Il devait donc être écrit quelque part que mon chemin croiserait un jour celui du cinéma. Cela ne signifie pas que je ne me suis pas battue avant

Existe-t-il un cinéma « stalinien » ? Cette question, loin dêtre formelle, est essentielle pour saisir la complexité des relations qui se sont nouées, dans lUnion soviétique de Staline, entre le ciné

Segundo de Chomón (1871-1929) est l’un des maîtres incontestés des premiers trucages cinématographiques et des débuts de la mise en couleurs des images animées. Néanmoins, ce pionnier espagnol est bi

Fruto de três anos de profundas pesquisas, História do cinema mundial traz um viés inédito para o estudo do tema: o enfoque geográfico e cultural da sétima arte. Na primeira parte do livro, Franthies

Quatre enquêtes de terrain menées auprès de 3 000 personnes dans deux pays d’Afrique du Nord (Maroc, Tunisie) et deux du Sud du Sahara (Tchad, Togo), à partir d’un questionnaire commun avec des adapt

Dans ce journal de bord, Patrick Chesnais se raconte en toute intimité et toute liberté. Des larmes, des anecdotes, beaucoup dhumour. Après Il est où, Ferdinand ? (Michel Lafon, 2008), le nouveau liv

Lost Landscapes offre un viaggio nel tempo e nello spazio attraverso immagini darchivio che arricchiscono il panorama dei media digitali. Grazie al lavoro e allinterpretazione di studiosi, curatori, artisti e filmmaker, dalla ricca e varia produzione del cinema amatoriale del Novecento riemergono sguardi familiari e stranianti allo stesso tempo. Il libro presenta il caso di Bologna, citta filmata dai suoi abitanti tra gli anni 50 e 80 e oggi esplorata attraverso le immagini inedite raccolte dallArchivio Home Movies. Bologna diventa cosi il paradigma della citta amatoriale, esempio di una nuova prospettiva sul rapporto tra cinema e paesaggio urbano. La citta amatoriale da cut up e mosaico si trasforma in un dispositivo visuale per rileggere e riscrivere lo spazio urbano tramite le immagini darchivio, prendendo di volta in volta la forma contemporanea di mappa, piattaforma interattiva, found footage film, installazione immersiva. Strumenti per guardare il passato e interrogarlo rivolgendosi al futuro.

It made for an easy read and a lot of chuckling. If you didnt have respect for physical special effects in films before, you will now. - G. F. Willmetts, SFcrowsnestthe perfect blend of autobiography and behind-the-scenes storytelling. Making Movie Magic is a magic movie-making book. - Brian James Smith, From Sweden With LoveJohn Richardson is an Oscar-winning special effects supervisor and designer, who has been involved in over 100 movies, including nine James Bond adventures, all eight Harry Potter films, Aliens, Superman, A Bridge Too Far, Straw Dogs, The Omen, Cliffhanger, Far and Away, Willow . . . and many, many more.In creating the magic that flows through these films by creating huge explosions, beheading people, producing futuristic gadgets, making a man fly or breathing life into creatures that amaze and haunt us Richardson has come to hold a unique place in cinema history.The son of pioneering FX technician Cliff Richardson, he learned his trade at the feet of a master of the craft.With over five decades of adventures under his belt, and a vast photographic collection of unseen pictures, Richardson now lifts the lid on his exciting and fascinating career of making movie magic.

I cortometraggi e i video di Zbigniew Rybczyski hanno segnato limmaginario di unepoca, quella degli anni Ottanta a Novanta del Novecento. Geniale sperimentatore di linguaggi, innovatore di tecnologie, instancabile ricercatore di estetiche che guardano al futuro, lartista polacco . ancora oggi uno degli autori pi. interessanti del panorama mediatico contemporaneo. Questo libro traccia una storia delle sue avventurose visioni, analizzando le sue opere pi. importanti, dalle animazioni in stop motion ai video musicali e alle opere video realizzate con innovative sperimentazioni in chroma key

Updated and expanded for a new edition, this is the perfect starter text for students of film studies. Packed full of visual examples from all periods of film history up to the present, Film:A Critical Introduction illustrates film concepts in context and in depth, addressing techniques and terminology used in film production and criticism, and emphasising thinking and writing critically and effectively.With reference to 450 new and existing images, the authors discuss contemporary films and film studies scholarship, as well as recent developments in film production and exhibition, such as digital technologies and new modes of screen media.New features in the fourth edition:Expanded discussion of changing cultural and political contexts for film and media industries, including #MeToo, #TimesUp, and #OscarsSoWhiteUpdated examples drawing from both contemporary and classic films in every chapter highlight that film studies is a vibrant and growing fieldNew closing chapter expands the books theoretical framework, linking foundational concepts in cinema studies to innovative new scholarship in media and screen studiesThoroughly revised and updated discussions of auteur theory, the long-take aesthetic, ideology in the superhero film and more

Questo libro si interroga sul modo in cui alcuni scrittori e registi cinematografici hanno descritto il rapporto tra intellettuali e plebe a Napoli dal secondo dopoguerra a oggi e come esso si sia articolato in alcuni momenti decisivi della storia della citta. Il popolo o la classe dotati di soggettivita e unita, sorta di aristocrazia degli oppressi, sono stati sovente opposti alla plebe, considerata con disprezzo come un sottoproletariato manipolabile dal fascismo e dal populismo. Questa distinzione e troppo rigida. Il capitale produce simultaneamente, continuamente, lavoro salariato e plebe e determina una trasmigrazione continua tra le due condizioni, secondo la curva dominante del suo ciclo. Lesistenza dei senza voce e dei senza parte non e un accidente della storia, o una sua fase arretrata, destinata a svanire con lestensione universale del lavoro produttivo: come il capitale nelle piu diverse parti del mondo non puo fare a meno di ricorrere alla violenza per nulla estinta dellaccumulazione originaria, cosi crea strutturalmente lessere della plebe, lombra perturbante e minacciosa, in cui a ogni crisi minaccia di sprofondare anche il lavoratore piu qualificato. Il tempo che porta dalla plebe alla classe quindi non e lineare, ma curvilineo, regressivo e spezzato. Linespressivita miserabile se considerata come un dato di natura, come prossimita alla condizione animale non e che un mito: essa e prodotta dalla distruzione di codici simbolici preesistenti o di una soggettivita prima vitale. I senza voce hanno perso una parola che possedevano, sono stati espropriati della identita originaria, e non hanno accesso al linguaggio astratto della modernita capitalista.

Por que não reunir, em um livro, os textos que foram inspirados por filmes? Cinema é minha segunda paixão, talvez até se equi­pare com a literatura. Juntar as duas artes num mesmo projeto acordou min

En plus de 80 millions dentrées cumulées, Claude Zidi est le réalisateur français n° 1 au box office. Pour la première fois, il revient en toute liberté sur son parcours avec lucidité et humour.Contr