Product Description
Written by two of the leading scholars in film studies, Film History: An Introduction is a comprehensive, global survey of the medium that covers the development of every genre in film, from drama and comedy to documentary and experimental. As with the authors' bestselling Film Art: An Introduction (now in its eighth edition), concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic points of reference than competing books that rely on publicity stills.

The third edition of Film History is thoroughly updated and includes the first comprehensive overviews of the impact of globalization and digital technology on the cinema. Any serious film scholar--professor, undergraduate, or graduate student--will want to read and keep Film History.

Visit the authorss blog at http://www.davidbordwell.net/blog/ ... Read more

Customer Reviews (11)

Just like new, and got here quickly!
Not sure if i'm supposed to review the service of who supplied it or the actual book, but both were great! the "used; like new" quality of the book did not lie. it was unopened, with no marks or bends, amazing condition. It got here within a few days too. This book is for my film history class, but it's pretty informative and easy to read.
It also has pictures.

Very fun film book
Being a lover of film, I found this book to be incredibly fun to read. It truly shows how far the film industry has evolved and how much cinematography has improved since the beginning. I highly recommend to film enthusiasts.

Received in good time!
This book is in excellent condition like described and i received it in a timely manner.

Good condition, shaky customer service
This book is in very good condition.I actually can't remember if I bought it new or used.What I do remember is that it got lost.It was actually the Post Office's fault, but the seller was very insistent on not taking any blame.This seller said that our loss - theirs and mine - (when it was missing) was the same, and that they shouldn't have to take the fall.I disagreed. The tone changed after the book was found, but in a situation like this, a buyer wants to feel that the situation is unfortunate but it will be taken care of.I probably would not purchase again from this seller.

A treat for film buffs
Excellent film studies text--informative. Delineates the different epochs of film not only in the U.S. It includes international film and the work of Eisenstein, Renoir, Kurosawa, and others. Concise language and beautiful black-and-white and color reproductions. ... Read more

Product Description
Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media.
Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an "Essential Library: One Hundred Books About Film and Media You Should Read" and "One Hundred Films You Should See."As in previous editions, Monaco once again looks at film from many vantage points, as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to other narrative media such as the novel, painting, photography, television, and even music, the book discusses the elements necessary to understand how films convey meaning, and, more importantly, how we can best discern all that a film is attempting to communicate. In addition, Monaco stresses the still-evolving digital context of film throughout--one of the new sections looks at the untrustworthy nature of digital images and sound--and his chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film.
With hundreds of illustrative black-and-white film stills and diagrams, How to Read a Film is an indispensable addition to the library of everyone who loves the cinema and wants to understand it better. ... Read more

Customer Reviews (16)

An enlightening text which has stood the test of time.
Monaco's How To Read A Film is a triumph in bringing together a very wide range of theoretical, social, aesthetic, political, economic, historical, and technical information and ideas about film. In the newer editions, he has also addressed the broader range of media in general. It has been considered the "bible" by many on film history and theory for three decades. As a young film student 25 years ago, this was a required text for me then and still is today in many important schools. I learned so much from it then, and amazingly, continue to take away insights which inform my own film-making even today.

Some of the comments from other reviewers here are a bit baffling, to be frank. I don't find his writing style to be irritating at all; just the opposite! I feel that one of Monaco's real strengths is his style; he deals with what could easily be rather dry material in a way that has me unable to turn the pages fast enough! He always keeps the subject very interesting and is quite economical and free of excesses and digressions in his delivery. If anything, I found myself wanting to know more at times. One reviewer states that Monaco lacks organization and drifts randomly between topics. He cannot be serious (??). Whatever you might come up with to be critical about, I don't think that anyone could possibly make that case. On the contrary, given the utterly ambitious amount of material that he is dealing with, I truly applaud him for the organizational skill and deft handling of the presentation of such a massive amount of information! I think that he brings it all together extremely well with three indexes and a remarkable bibliography to support a highly accessible and coherent structure of chapters. This same reviewer claims that "There is nothing about auteur theory" and "very little about editing."That's just flat wrong. My gosh, did he read the book?? Monaco deals directly with this in chapter five; he points out the rather dubious translation of Truffaut's "Politique des auteurs" as a "theory," and suggests the distinction that it is more of a "policy" with a fairly arbitrary critical approach, and goes on to elaborate on the difficulty with the notion of authorship. And as far as any discussion on editing? MONTAGE, my friend!! That's a central topic which is dealt with in great depth throughout the entire text!

There is perhaps only one area that I might raise a critical question. That concerns Monaco's complete understanding of semiotics and the rhetorical devices of literary theory. He, of course, applies them extensively to film analysis; but I did yearn for a bit more scholarship at times. For example, the term "trope" is defined in a great many texts as a rhetorical figure which represents the specific figures: metaphor, synecdoche, metonymy, hyperbole, etc. But Monaco doesn't use it that way and it's a little confusing. It may simply be that these terms have evolved and have acquired nuanced meanings in film analysis.

For me personally, one of the wonderful things about the book is Monaco's honesty about the state of film criticism in current times as compared to the 1960s and 70s. He has the courage to admit what so many try to say in a backwards, camouflaged way. "Thumbs have replaced theories," says Monaco; today, "there is no one with an interesting theoretical ax to grind" like the prominent critical personas who established such a ferment of critical thinking and polemics thirty years ago; people like Pauline Kael, Andrew Sarris, Manny Farber, and Molly Haskell, to name a few. Controversial? What's surprising is that it's not; but it's a vitally important opinion to understand. And Monaco supports his claim with a fascinating and well written book. I consider this an essential text; it completely changed how I approach film, both in how I make them and in how I read them.

Fast delivery
I am so pleased with the purchase.
The book is in a great condition, not saying that it is also amazing in its content.
Highly recommended to read for those who are interested in film history and theory.
Moreover, the book arrived month and some days before the date of the estimate delivery, which I was very pleased to find out.

'Best Book of its Kind'?I agree
James Monaco's knowledge of film and other media is almost scary!He discusses things like film emulsions, the evolution of the movie camera, the physiological nature of perception and the montage techniques of Eisenstein and Pudovkin, "underground films" of the 60's with such authority, you might think he has some mental wikipedia in his brains that he simply surfs for whatever topic he happens to be addressing.A book like this one could easily end up being a thin overview of visual media with no subject given adequate coverage, but regardless of what he's explaining, Monaco explains it in-depth and he has the added ability to explain difficult subjects in clear terms: read his analysis of structuralism and post-modernist film criticism, for example. It actually makes sense.Not that it made me enjoy the academic approaches, but at least I learned what they are (and they're not all that much).If I had to have one book on film studies, I'd pick this one, unless the version with the DVD is better.I haven't looked at it, but I imagine it would be great to see real excerpts from classic or modern films as they are analyzed.

Not great, not lousy
"If poetry is what you can't translate, as Robert Frost once suggested, then 'art' is what you can't define."

And yet, the author tries. Most people who notice this discrepancy probably berate the author for this, but I give him marks for trying. Art has been an important part of my life since I was 3, and its study remains a topic of great interest to me.

This book fails to explain film as art, at least largely. And I'm not entirely sure why. Many of the concepts presented seem lifted from film studies courses, which in my experience are usually aimed at convincing the student to adopt political attitudes about films and about life in general. This propagandizing has never worked on me. I don't think the author follows through with the worst of the propaganda material that I'm used to seeing, but his arguments seem very similar, and similarly unconvincing.

This is not to say that the book is worthless. The elements on the history of film and its interaction with other art forms was very interesting.

Finally, there are technical errors. I don't think that any of them are particularly crucial to the understanding of film (at least, not those that I noticed), but I have to wonder whether an author who has an imperfect understanding of the technical aspects of film making has a similarly imperfect understanding of other elements. As an example, the author twice states that the focal length of a lens is the distance from the center of the front lens element to the film plane; in actuality, focal length is the distance between the lens focal point (somewhere inside the lens structure) to the film plane.

If I was going to choose one book to understand the language of film, this would not be it. On the other hand, if you can get it cheap, give it a shot.

How to Be a Film-Buff
Since the publication of its first edition in 1977, this book has been applauded--and rightly so. Monaco magically mingles art history, critical theory, and opinion on so many varieties of media (all within the focus of the single notion of "film") that what looks like a text book in fact stands as a delightful read in itself. In delving into each facet of film study, it results in catering for all aspects of film interest, all of which are nicely separated into clear chapters and sections.

Of course, even though this book is likely the greatest of its kind out there, it obviously cannot capture everything (Where is David Lynch?). For any one interested in expanding their notion of what a film is and learning how to appreciate it for more than a Friday night out, then there is probably no better place to start. Even if you aren't interested in the bulk of critical theory, the list of movie titles in itself is worth a read: from Lumière to Chaplin, from Eisenstein to Bergman, and from Godard and the French New Wave to Altman . . . this is film, captured in a book.

Reviewed by
Dylan Popowicz ... Read more

Product Description
Sophisticated in its analytical content, current and comprehensive in its coverage of all aspects of film and filmmaking, and informed throughout by fascinating historical and cultural contexts, A History of Narrative Film is widely acknowledged to be the definitive text in the field. The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements. ... Read more

Customer Reviews (10)

great
This book is great for those who want to study the history of film, or are interested in film making at all.

perfect
the book was just as described and in perfect condition. fast shipping.a great transaction--would definitely buy from this seller again!

History of Narrative Film Textbook
like! shipped in good time (for standard shipping) and book was in really good condition.

a history of narrative films
i bought this for my international film class. It does a thorough job of explaining each movie and each important scene. It spans from early film making to pretty much and other film in this industry. The author does a good jub at giving the readers useful information about each different era too.I didn't understand some of the text, i thought it was kind of hard, but all in all not a bad book.

Informative and easy reading book
I purchased this book for my "20th Century Cinema" class in College.I liked it enough to keep it. ... Read more

Product Description
Now completely revised-all there is to know on getting into the right schools and making the experience count.

This completely revised edition of Film School Confidential continues to offer the inside scoop on every major film school program in the country. A must-have guide for students who are considering applying to film school, this book provides more than 20 profiles of the best film school programs across the country. Covering such key areas as curriculum, student body, reputation, and employment options for film school grads, the authors provide solid, objective information on each program as well as snippets from interviews with students and faculty members.Amazon.com Review
Thinking about going to film school? Don't send in thatapplication just yet--first read this book, the definitive guide tofilm schools around the country. The 26 institutions reviewed arerated according to the quality and accessibility of their equipment,the kind of films their faculty encourage students to make("industry," "independent,""experimental"), and cost. The authors discuss the schools'programs in detail, advise readers about whether film school is theright choice for them, provide tips about getting into the programs,and describe what to expect once film school begins. Karin Kelly andTom Edgar's prose is spirited and their entertaining introductoryportrait of the state of American filmmaking will interest anyone whocares about contemporary movies. An informative and amusing glossarycloses the volume, which explains why no one should try to lift anARRI kit by the handle, why "experimental film" is justanother word for "cinematic masturbation," and why no goodmovie script ever contained the line, "you just don't get it, doyou?" ... Read more

Customer Reviews (24)

Must-read book
An absolute "must-read" for anyone contemplating educational options in this industry.Very easy to read but dense with useful and practical advice.

Would have appreciated more coverage of undergraduate options, though.While the authors make the case for undergraduate school as a time of broad educational exposure, it is conceivable to do that within a context of film.

For a young person interested in film, it is hard for them to delay their involvement until graduate school.They can certainly get a liberal arts degree (and thus the broad exposure) with a film/film studies major and then decide if they want to continue on to grad school (and if so, what particular emphasis).However, there are also undergrad options that are more concentrated on the actual production side of things.Some coverage of the undergrad options would have been very much appreciated.

A few issues
The book has its value for discussing in detail several schools throughout the country. I would even say it is a must-have before you visit ANY film school (even if's not in the book). The grudge I have is how the authors sometimes weigh in with their personal preferences while discussing school facts (eg, they call Valencia, CA "depressing to live" - while that may be true it is highly subjective and should not be mentioned in a section which is supposed to inform an applicant). The introductory chapters are helpful, but the authors on occasion fall for juvenile foot-in-mouth comments like minimizing the work of McKee and Field by arguing they haven't had any produced screenplays (which is ridiculous - that's like saying a Superbowl team coach sucks because he can't throw a ball like Joe Montana). The glossary is tongue in cheek but is obviously filler, no substance. Other than that, if one ignores these annoyances the book can be helpful.

Good overview of graduate film programs
Overview of the top graduate film programs: gives good insight into each program and their respective strengths and characteristics.Very helpful in understanding the 'signature' of a school.Would be great to have an equivalent for undergrad film programs!

Chose Chapman U
Does say what it claims to do. Excellant guide, helped me choose Chapman U due to its excellant equipment and policies.

i'm glad i bought this
I am actually looking for undergraduate programs and this book seems to focus more on graduate degrees but it was useful anyway. ... Read more

Product Description
Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its seventh edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory--including Rudolf Arnheim, Siegfried Kracauer, and André Bazin--and cutting-edge essays by such contemporary scholars as David Bordwell, Tania Modleski, Thomas Schatz, and Richard Dyer, the book examines both historical and theoretical viewpoints on the subject.

Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into eight sections--each comprising the major fields of critical controversy and analysis--this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. The seventh edition also integrates exciting new material on feminist theory, queer cinema, and global cinema, as well as a new section, "Digitization and Globalization," which engages important recent developments in technology and world cinema.

A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism.

ABOUT THE EDITORS
Leo Braudy is University Professor and Bing Professor of English at the University of Southern California. Among other books, he is author of Native Informant: Essays on Film, Fiction, and Popular Culture (OUP, 1991), The Frenzy of Renown: Fame and Its History (OUP, 1986), and most recently, From Chivalry to Terrorism: War and the Changing Nature of Masculinity (2003).

Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California. He is coeditor, with Roger Copeland, of What Is Dance? Readings in Theory and Criticism (OUP, 1983) and founding editor of Philosophy and Public Affairs. ... Read more

Customer Reviews (10)

Philosophy and Film Class
I had to order this book for a Philosophy and Film online class, which fulfills my upper level Philosophy requirement.It is a very extensive book that contains articles and excerpts from numerous prominent film critics and theorists.Many of the readings are very old (from the beginning of the film era) so they are a little dense to read, but they are very interesting and informative nonetheless.

Misleading
The book is much more used than the seller lead on. I could have gotten a better copy for cheaper elsewhere.

good
Got it and it was just like the description, havn't found a problem with it.

Wading in the Quicksand
First of all, if you are purchasing this book here is a great probability that someone required you to read it.Just as a warning, THIS BOOK IS VERY HARD TO READ!!!

The translations is difficult and sometimes you are completely confused.However the content is amazing.If you take the time to watch the films being discussed and or the films by the authors the words come alive and there is depth and understanding of the medium that we all enjoy.

I was required to read this for a MFA English course and I would have never read it otherwise.Now I recommend the book and several of the articles on a regular basis.

One note, check with your professor to see if you must order the latest edition.The previous editions are sometimes adequate and significantly less cost.

Good Collection
This is a good source for any student of film studies to have laying around, as it'll save you the trouble of checking out 7+ books from the library to get just a few of the essays featured in here.All of them are important, influential pieces that are a must-read to have a foundation in the ongoing film theory debates.Not a beginner text, by any means, but certainly an excellent resource and a comprehensive starting point for theory essays. ... Read more

Product Description
This new edition has been completely updated and revised along with the addition of several new chapters.Currently, this title remains the best selling university text book on writing short film screenplays. ... Read more

Customer Reviews (14)

there are better books about writing short films out there......
While this book is by no means horrible, it certainly falls short in terms of it's title.It contains a wealth of information about the progression of a story, the importance of themes and subtexts and meaning....all the typical stuff that makes a great story great. HOWEVER, there is VERY LITTLE advice or insight about different approaches to writing short film, or the building blocks to doing so.Lastly, it's worth nothing that each chapter is poorly organized.Many sections introduce "new" subjects yet these all seem to consistently recycle old ideas far more than necessary.

Check this book out from a library before you buy it.Or, buy it but dont expect inspiration for writing your short film.

In lieu of this book I'd recommend "Writing Short Scripts" by William H. Phillips.This book contains practical advice, drawn form specific examples from 5 scripts printed within the book (two of which were very successful short films in the festival circuit).Phillips has far better insight into the process of writing an short script.

Excellent resource
Excellent resource for teaching high school video production.Some very helpful easy to follow directions.

Not Specifically About Short Films
While the subtitle of this book is accurate ("structure and content for screenwriters"), the main title is incredibly misleading.While many short films are used as examples, I can sum up what the book says about writing the short screenplay with: They must be focused, because they are short.

The information in the book about writing a story for film is informative and worthwhile, and could be applied to any form of storytelling.But, as I was looking for specific information about working in a short screenplay format, I found that this book has very little to offer on the subject.

4 stars as a book on story structure
0 stars as a book about writing short films

Expect the expected
I bought this book thinking it would really get me motivated to write more scripts or give me some knowledge that I could really use. Much to my disappointment--neither was true.
I give this book 3 stars because it does contain some valuable info on scriptwriting if you don't know how to format a script. Pick it up for a few bucks at a used book store for reference.

COULDN'T BE MORE PLEASED
Arrived quickly and in great shape.What more can one ask??? ... Read more

Product Description
From extinct species and living dinosaurs to lake monsters (like the Loch Ness Monster) to unknown apes (like Yeti and Bigfoot) and other creatures, this book is a thrilling collection of photographs of monsters from around the world. Are these photographs misidentified coincidences or elaborate hoaxes? Or do they present real evidence of mysterious beasts and monsters caught on film? ... Read more

Product Description

Customer Reviews (9)

Great,Great,Great
Excellent book, Mackendrick is certenly one of the masters of cinema. Everything is very well explained, simple and to the point. Good examples and with a very friendly tone. Mackendrick is not only a master in cinema but also in teaching.

cool
bought this for a graduate directing fiction course - haven't read it yet but it seems worth reading.

nice book long wait
The book is just as described, but it arrived on the very last day it could for acceptable delivery. I ordered it for Christmas and it did not make it in time. The son I bought it for was no longer in AZ so I had to pay twice to ship it, cause I had to send it to New York where he lives. But the seller was allowed weeks to send it and I did get it within that time frame. My son loves the book and that is all that matters

One of the very best books on filmmaking
I have read many books on filmmaking and I have a film school degree (from CalArts, as it happens, where Mackendrick once taught). You can't learn filmmaking from a book or from school, only by making films. Nevertheless, "On Film-making" comes as close as any book I've ever found to explaining precisely and beautifully the work of a film director. Whether you want to make films or are simply a film fan, this book will be an immensely rewarding and illuminating experience.

the master speaks
Great book by a great filmmaker and a great teacher.Anyone serious about how to create meaning in the cinema by using the "grammar," the form, should read this book.Ditto for the creation of story along classical lines -- ... Read more

Product Description
On Film Editing explains, in simple terms, the principles of film editing, using examples and anecdotes. Written in an informal "how-to-do-it" style, renowned director Edward Dmytyrk shares his expertise and experience in film editing in an anecdotal and philosophical way.

In On Film Editing, Dmytryk contends that many technicians and professionals on the film crew-- from the cameraman and his assistants to the producer and director-- must understand film editing to produce a truly polished work. In this book he explains in layman's terms the principles of film editing, using examples and anecdotes from almost five decades in the film industry.

A perfect introduction to film editing.

Written in easy to understand language

Supported by examples from famous films and the author's vast experience.Amazon.com Review
"Editing is the creative force of filmic reality." So Dmytryk,director of the American classic "The Caine Mutiny" begins this littlebook, which he hopes will aid film directors and editors in perfectingtheir art.It is informative for general audiences as well,demonstrating how deeply the experience of any film relies on thecreativity and versatility of its editor. ... Read more

Customer Reviews (9)

A good short read
When I saw how small this book was I was regretting the price.
But after reading it I found this book to be one of those rare little books that have usful information on their subject with every page.
Opinion, worth it;)

Clear and authoritative guide to the principles and practices of film editing
This is one of the classic texts on the principles and practices of modern film editing.While it was written nearly thirty years ago and refers occasionally to the techniques of linear editing on actual film, its summary of the rules of good editing remains as relevant today as ever, even for filmmakers who will only ever edit video on their computers.Editing is where the film is brought to life and Dmytryk outlines in a very clear and engaging way the basic considerations that allow that to take place. The author was not only a major filmmaker but a master teacher, and it shows in both the precision and clarity of his explanations.

What makes the guide as fresh today as when it appeared is that it is primarily not about technical considerations but about how an editor has to think in order to construct seamless and engaging scenes that are true to the overall story of a film.At the same time this thinking is given a practical application.The focus is on why rather than how, but it goes much further in explaining the basics of what to do when editing and how to put together a scene than many other books out there.

Dmytryk makes a distinction between a cutter and an editor, and cutting is merely competence with the equipment of film editing, whether it is a moviola or Final Cut Pro.Editing is always thinking, and is as creative in its approach to the film as shot as directing is creative in its approach to the film as written.Subtle variations in editing can change completely the tone or mood of a film.Dmytryk illustrates his points with several examples from major films he directed or edited (e.g. The Caine Mutiny, Murder, My Sweet and many more).Dmytryk is a master of his craft and is generous in his description of what it takes to pursue this mastery.This little book is an indispensible part of any filmmaker or film lover's library.

The first editing book you should read
What if you have already read another editing book?Read this and then go back and read your other book.The author has a lifetime of experience in Hollywood and explains how Hollywood movies are edited, at least until the 1970's (most still use these methods).The methods described are the standards that form the basic language of the craft.Another plus is that the work is very concise and a good read into the history of film.

This book made me a film maker.
One of the most important books in my life. I read and re-read this book in preparation for editing my FIRST film ever. Reviewers say my film possesses a "master level" edit. This book is why. Buy it. Read it. Re-read it.

My message to all young grasshopper: Read. And now read some more. Read and you become master phlegm-en-zepher.

editing is tricky buisiness
this is an excellent book on this very delicate craft. I also liked "the eye is quicker" but this was very informative and a better read. there is no substitute for actually editing and what works is hard to descibe in words but this book demonstrates some very subtles points and Mr. Dmytyk is a film maker. If your just starting read the eye is quicker but if you have some experience and want to go to the next level, this is a good one. ... Read more

Product Description
What is the relationship between cinema and spectator? That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theories – from the classical period to today – in this insightful, engaging book. Every kind of cinema (and film theory) imagines an ideal spectator, and then imagines a certain relationship between the mind and body of that spectator and the screen. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from 1945 to the present, from neo-realist and modernist theories to psychoanalytic, ‘apparatus’, phenomenological and cognitivist theories. ... Read more

Product Description
"I loved David Gilmour's sleek, potent little memoir, The Film Club.It's so, so wise in the ways of fathers and sons, of movies and movie-goers, of love and loss."
--- Richard Russo, Pulitzer Prize winning author of Empire Falls

"If all sons had dads like David Gilmour, then Oedipus would be a forgotten legend and Father's Day would be a worldwide film festival."

--Sean Wilsey, author of Oh the Glory of It All

"David Gilmour is a very unlikely moral guidance counselor: he's broke, more or less unemployed and has two children by two different women. Yet when it looks as though his teenage son is about to go off the rails, he reaches out to him through the only subject he knows anything about: the movies.The result is an object lesson in how fathers should talk to their sons."--Toby Young, author of How to Lose Friends & Alienate People



At the start of this brilliantly unconventional family memoir, David Gilmour is an unemployed movie critic trying to convince his fifteen-year-old son Jesse to do his homework.When he realizes Jesse is beginning to view learning as a loathsome chore, he offers his son an unconventional deal:Jesse could drop out of school, not work, not pay rent - but he must watch three movies a week of his father's choosing.

Week by week, side by side, father and son watched everything from True Romance to Rosemary's Baby to Showgirls, and films by Akira Kurosawa, Martin Scorsese, Brian DePalma, Billy Wilder, among others.The movies got them talking about Jesse's life and his own romantic dramas, with mercurial girlfriends, heart-wrenching breakups, and the kind of obsessive yearning usually seen only in movies.

Through their film club, father and son discussed girls, music, work, drugs, money, love, and friendship - and their own lives changed in surprising ways. ... Read more

Customer Reviews (44)

Interesting Premise, Tedious Reading
The book started off with an interesting premise - the author decides in the first chapter that since his 15-year-old son is about to flunk out of school, why not let him quit school and stay home, the only requirement being that he must watch films with his film critic father, hopefully to be taught some life lessons with this unorthodox method. Alas, starting with Chapter 2, it all goes downhill. The movie information is interesting but there isn't enough of it to offset the continuous moaning and whining. The father allows (even encourages) the son, even at this young age, to smoke and drink (and later the son gets into drug use, despite the father's original rule that in order to do the dropout-movie-watching deal there must be no drugs, ever, or no deal - of course, when the drug usage is discovered, the father just sloughs it off). The son is given no responsibilities at all but to occasionally sit and watch a movie whenever he manages to crawl out of bed. Far too much of the four-year span of the book consists of the son blubbering about his off-and-on girlfriends. Two stars for the movie info and the offbeat idea for alternative education, but I would not recommend this book to anyone.
[Note re the "tag suggestions" - the author of this book is NOT David Gilmour of Pink Floyd.)

Two stars because one stars are just haters.
I was interested in this book because of the alternative education approach. I was curious to see if it could actually work.

However, upon reading it, it's not a book about any such experiment, but rather just a story about a dad and his dumb-ass son. I say dumb-ass having nothing to do with intelligence, but how he lives his life and the choices he makes.

Perhaps it is my definition of the word "education" that turned me off to this book. Education is not only book knowledge, it is the knowledge of self and others. Maybe it's because this experiment started at around age 15 and not age 17, when there would be only a year left in the son's basic education that crashed it. Maybe it's the cultural differences in US and Canadian culture. Essentially, this is a book about a dad who lets his son drop out of school and spend time watching movies with his film critic father, hoping that the boy will learn something either from the experience or maybe being with dad, who wants to be the best friend now.

The "experiment" goes on for a couple years and all you get out of it is that the son is allowed to drink, sleep all day, not have a job, smoke, chase girls, become a rapper, and start using drugs. Oh, and watch movies, which aren't reaching him really anything, except the cool inside stuff dad knows about the process and the movies. If the boy were interested in the creative process or making movies, this could be an education. This just turns out to be a story about how a father and son tried to grow closer and maybe keep the son from being a wast of human life. This is more of an "After School Special Movie" than a book that examines any kind of process that could be used with at risk youth.

If you are interested in a book about a dad who just turns his son loose to try and pick up life and smarts on the street, this is the book for you. If you want to see how someone applied an alternative education theory and what level of success they had with it, this is not for you.

Something like this happened to me!!!!
This memoir reminds me of an experience I had in high school.I HATED high school and always had a grumpy scowl on my face whenever I walked there.An older guy named Doyle I used to see on my way to school sensed my down mood and offered to let me hang out at his place during school hours.I could drink all the beer I wanted to and watch movies, if I didn't want to go to school.The only condition was that I had to hang out there all day, watch the movies, tell him exactly what I saw and what it meant to me, and then he would cover for me at the school.How awesome was that?Now the weird part was that all of the films Doyle showed me were porn tapes, most of which showed guys getting things shoved up their hoo-has.I also remember having to sit next to Doyle on the couch while he dealt with a chronic itch under his trenchcoat.(The guy ALWAYS wore a trenchcoat when I came to visit.He must have been cold.)Anyway, Doyle must have had eczema around his thighs or something because he was always scratching himself down there for an extended period.When I would describe the movies to him later, the itching and scratching seemed to get a lot worse and he moaned a lot.I felt real bad for Doyle because he seemed to be in a lot of pain.Anyway, this lasted for a few months.And (get this!) eventually, he started paying me $50 for my dirty underwear.However, he specifically asked me not to clean myself after going to the bathroom and to make sure I ran around a lot before I gave it to him.I didn't know what his deal was, but I thought, "What the hey if this guy's weird? It beats flipping burgers."I started making some good money, sometimes $300 a week.Eventually, I had to give it up when Moms started wondering what was happening to my underwear and balked at having to buy me new underwear every week.In retrospect, I probably should have just bought some with the money I got from Doyle, but I was too cheap.I don't know what happened to Doyle, but that school year was pretty cool.

A Real Page-Turner (Until Chapter 2)
[...]
As a general rule, I'm opposed to book burnings, but if I ever happen upon one, I have a book to offer.The Film Club by David Gilmour should be banned for unrealized potential, and burned for its failure to be fabulous.I had such high hopes.Its concept was inspired.Gilmour is a father who decides to give up his battle to keep his unmotivated son from dropping out.His son, we're told, is highly intelligent but bored to death by school.Gilmour had already exhausted every possible parental prerogative when the book begins.He has raged, threatened, bribed, and admonished, feeling only that he has succeeded in turning his son into a cheat and a liar and himself into a father to be feared.Gilmour concludes what he is losing far outweighs any imagined gains.What purpose is served in forcing his son to sit 8 hours a day in a place he detests, and where he is neither inspired nor successful?So Gilmour makes an unconventional proposal to his son.Jesse would be allowed to drop out of high school and continue to live at home rent-free.He would not be required to get a job for one year.In return, he must agree to two things:to stay away from drugs (drug use of any kind would be the deal-breaker); and, he must watch three movies a week with his father who would have sole authority over movie selection.
At this point (page 10), I'm loving this book.Teacher envy oozes from my every pore.This should have been my idea.Imagine the great truths I could teach with such reelism!My own movie list begins to take shape: To Kill a Mockingbird, On the Waterfront, Life is Beautiful, The Man Who Would be King, The Godfather (Parts I & II), Thelma & Louise -- I'm serious.Loved that movie.Two women, forced into road-trip hell (sex, drugs, rock & roll) by cluelessly ignorant men.Male buddy movies abound, but this broke ground -- two girls taking a cliff for the sisterhood.It's a modern morality play, by Juno!
But, sadly, around page 11 the book dissolves into one huge disappointment.By book's end, I don't care a jot about Gilmour or his lame son.I was primed to read some fabulous movie discussions. I wanted insight to Gilmour's wisdom (I pictured an Atticus Finch of movie sagacity).I wanted to see Jesse develop from over-indulged spoiled brat into a sophisticated and perceptive observer of the human condition.What I got instead was about 200 pages of teenage angst.Jesse was dumped by, not one, but two amazingly intelligent girls.Both, we're led to believe, were the real deals -- the true loves of his 17-year life.Judging by the pages devoted to this drivel, we are supposed to be as drawn into these sophomoric romances as Gilmour is.And then, very predictably, Jesse blows the first part of their agreement and spends an entire night in a cocaine-induced debauchery.Gilmour reminds Jesse of a crucial detail of their agreement: "That if I caught you doing drugs, the deal's off.Rent, pocket money, all of it, over."Want to know how the genius responded?"You didn't catch me.I told you."Want to know how the anti-Atticus Finch replied?"I didn't have an immediate answer to that one."--- but while he's waiting to think up one, he anticipates that Jesse might have (in his altered state) done something very bad and irreversible.He might have called the girlfriend, losing all credibility in the world of teenage romance novels (where this book has now devolved).Gilmour ends this touching teaching moment by showing Jesse a scene from Mastroianni's La Dolce Vita (Italian for "the good life," referring to one filled with pleasure and indulgence).As a father, Gilmour's an idiot.As a writer, Gilmour's an idiot.
Gilmour tells us himself that he had way too much time on his hands when he started the film club.He was between jobs and admits that looking for work at age fifty was a scary prospect.So instead he found a good excuse to stay home and spend his afternoons on the couch watching movie after movie with his loser son.Sounds like depression education to me, based on some of his questionable film choices:Basic Instinct ("Something important or nasty seems to be happening, even when it isn't"); Ishtar ("a fine, flawed film"); Show Girls (as part of his "guilty pleasures" theme, and which he summarizes as "a film that makes proctologists of us all").In the spirit of fairness, he had some very good titles in there as well.There is a Filmography at the back where you can see the list of films and judge for yourself (for those who buy this book in spite of my warning).The only person in the book I had any empathy for was Gilmour's wife, Tina (not Jesse's mother, but Gilmour's second wife).She comes home from a hard day's work to find Gilmour rewinding something like A Hard Day's Night -- all under the guise of educating and bonding with a son who occupies the other end of the couch.Gilmour tells us that Tina (who is several years his junior) worked multiple jobs putting herself through college, and admits she may have found his afternoon sessions "somewhat galling."My hat's off to her.In her place I'd first take a lover, and then donate a copy of The Postman Always Rings Twice to the film club.
In conclusion, I only recommend this book as inspiration for kids to stay in school -- or for parents to keep them there -- or as a really good idea for your own book.

more then a list of movies
I got this book thinking i was going to geta list of movies to share with my movie going teenage doughter . i got so much more ! such a wounderful book. full of insights about parenting , growing up
about life. loved it . ... Read more

Customer Reviews (9)

Excellent resource for filmmakers at all levels
This book is an industry reference. With it's constant updating, and with sample budgets online to download, it is a valuable resource for filmmakers at any level. (The sample budgets that you can download go all the way from a $5,000,000 production down to a 'no budget' student film.)

Well written and easy to follow, this book is a mini-course in production, all by itself.

One of the biggest problems that first-time filmmakers have is under-estimating their costs. This leads to either going into debt, compromise on key parts of the production, or simply failing to complete the film.

Film and Video Budgets gives the filmmaker a way to 'model out' the production on paper, and see what the costs *really* are before shooting begins.

Highly recommended, especially for first time feature filmmakers, makers of documentaries, student filmmakers, and for film teachers.

I had no idea I didn't know that!
I just started plotting out a documentary web series and had know idea where to start looking for money advise.Having seen this book on a producers shelf before I decided to pick it up.And it is worth every penny.It has answered all of my questions, pointed me in the right direction for answers to others I didn't know I had and it provides great visual aids (for those of us who really don't like to read, but do so out of necessity!) giving me a realistic place to start.

Excellent Production Resource
This is an engaging, state of the art training in production budgeting. Demystifying everything, stepping over nothing, the book takes readers on an illuminated walk into the thinking and know-how behind creating a successful budget. Focusing on every possible nuance of each line item, work flow and current digital format, this is a practical source of indispensable information. Laced with humor and industry wisdom, Deke Simon provides a stellar, complete education for new filmmakers and a terrific resource for seasoned producers: It's written to empower and facts can be found with velocity.

Does filmmakers a huge service by helping them anticipate each phase of their project
I expected this book to be just a bunch of budget forms with boring explanations. Was I off the mark! Film + Video Budgets does every filmmaker a huge service by helping them anticipate each phase of their project. This 465-page handbook educates moviemakers on what happens in each stage and tells them how to plan and pre-visualize their film so that the process runs as smoothly as possible. Don't know when to market, how to pick a camera, or the process to get to a digital cinema print? This book guides you through each step of a film or video, lavishing specific advice and information that can only come from years of experience and up-to-date knowledge.

Use this book if you are setting out on your first or fifth student film, feature, documentary, corporate video, or music video - it contains budgets for each of these. Use it to understand a specific phase of filmmaking better: preproduction, production, or postproduction. Use it to decipher what each line item in budget means. Use it to plan how to shoot and edit your film and to budget for everything from a high definition shoot to costumes to final digital or film deliverable. The book tells you how to deal with unions, post facilities, writers and much more so you'll know the questions to ask, can work out problems and make deals.

This fifth edition of Film + Video Budgets by veteran producer Deke Simon is simply indispensible for filmmakers. I will rely heavy on it to make my first film.

Gael Chandler
Author, Film Editing: Great Cuts Every Filmmaker and Movie Lover Must Know and Cut by Cut: Editing Your Film or Video

Best text on film budgeting so far
I've been in the business for a long time, both as a filmmaker and a professor. Teaching the business of film and video production is a daunting task, to say the least. Deke Simon's textbook, Film & Video Budgets, is the best of the genre.

It is very comprehensive and covers it all: the basics, features, smaller projects, digital, documentary, student films. The book covers it all, and is full of explanations and detailed examples. He derives a lot of his information from respected authorities in their fields, so his book represents a lot of Hollywood expertise.

I highly recommend it to anyone (everyone) starting out in the business; and especially to all student filmmakers. Reading this text is like taking an advanced course in Production Budgeting (but without the tests and the assignments!)

Sincerely,
Fred Ginsburg C.A.S. Ph.D. MBKS
Adjunct Professor, California State University Northridge ... Read more

Product Description
Two filmmakers who've beaten the system give the real dope on what it takes to get your movie made

Do you have to go to film school to get your movies made? No, say two young entrepreneurs who survived the grind. Here they offer 140 strategies for making movies no matter what. Amateurs as well as seasoned veterans can pick up this entertaining and incredibly useful guide in any place--at any point of crisis--and find tactics that work. Whether it's raising money or cutting your budget; dealing with angry landlords or angry cops; or jump-starting the production or stalling it while you finish the script, these strategies are delivered with funny, illustrative anecdotes from the authors' experiences and from veteran filmmakers eager to share their stories. Irreverent, invaluable, and a lot cheaper than a year's tuition, this friendly guide is the smartest investment any future filmmaker could make.

Strategies from the book include:Love your friends for criticizing your work--especially at the script stageShyness won't get you the donutsDuct tape miraclesDon't fall in love with cast or crew (but if you do...) ... Read more

Customer Reviews (46)

Totally useless
Thanks God, they don't teach you THAT in film school! Endless, girlish blah-blah-blah... It's a shame, especially when authors, according to a photo at the end of the book, passed the teenage stage a long time ago! I don't even want to be more specific! It's already way too much time I spent on this garbage... The only reason I am writing it is to warn you, Filmmaker - it has no information you are looking for.

All filler very little killer
An entire page was dedicated in given you the recipe on how to bake cookies...I'm not kidding, it's there!

Apart from atrociously redundant information littered through this book that has little to do with actual film making. There are still a few gems dispersed in it. If you're masochistic enough to read the entire thing then it might be worth it.

If you're really really into making movies then don't waste your time and money (I wasted the former cause I'm sick like that) buying this book. Buy a book you can actually learn something from.

Great book so far!!!....still reading it though
I bought this book for the soul purpose to learn what it takes to make films and what not. I'm an aspiring actor and I just started in films last May 2007 and up to Dec. 2007 I've done 11 films as an extra or an actor with speaking lines. I'm also reading Screenwriting for Dummies which is also very helpful.Someday I'll take this knowledge from these two books and more to come and make a film.

This book is easy reading and enjoyable. So far I have no negative comments about it.

Fun but Useless
If you want something that might motivate you to make a film..-_-then go ahead and buy it... but dont expect to learn anything useful.

Enjoyable read, but limited in focus
I just finished this book and thought I would share a few things, good and the not so good.

First the good:
The authors do a really nice job explaining a lot things first time filmmakers might have trouble with, in other words, the 'gotchas'.Things as blaringly obvious as backup batteries and duct tape are included.They touch on a lot of things one should consider when making films.

The book is well laid out and lead one from beginning to end, like a good story.It was a very easy read and sometimes out-loud funny.They talk a lot about dealing with personalities, which is both good and bad.

Which leads me to the not so good:
As encouraging as they are, at times they bring up so many difficulties that one wonders why anyone would bother to make a film at all.The book is alternately encouraging and discouraging.

Given that they are both former film students, this book relies heavily on their film school background, which is an advantage for film school students, but not as useful for non-traditional film students (like Jeunet and myself).They reference the Hollywood film industry/culture almost exclusively, which again does not help those who are based elsewhere.

Bottom line:
I found this book useful, but not as much as I had hoped.This book is ideal for anyone who went to film school, but is only half helpful for the rest of us.The cover is a little deceiving (blame marketing) in that the publisher makes the book sound ideal for any filmmaker.Despite the flaws, I find it to be a useful reference for my filmmaking endeavors.I give this four stars, one extra star than I normally would have, just for sheer entertainment and readability value. ... Read more

Product Description

Customer Reviews (4)

The best book ever!
One of my teachers at my film school showed us this book a few years ago and i had been looking for it everywhere! When i found it, I jumped at the chance to get it and have not left it alone since I got it a few months ago! I love it! It really helps you understand the jobs in the industry and really helped me choose the direction i want to go with my Career after school! I really recommend this book!!!!!!

You don't have to live in Hollywood to work in film
You don't have to live in Hollywood to work in the film industry even though a large part of moviemaking is based in and around Los Angeles. Independent film (and even an ever increasing number of studio productions) are made "on location" around the country and around the world. Career Opportunities In The Film Industry is an essential reference for anyone considering the prospects for employment in this globe-spanning industry. Thematically organized into sixteen sections, the more than 75 jobs range from screenwriter, Stuntperson, Storyboard Artist, Production Assistant, and color timer, to auditor, gaffer, film critic, boom operator, music supervisor, caterer, and dialect coach. Informed and informative, each job descript-ion is succinct and comprehensive. Also available in a hardcover edition, Career Opportunities In The Film Industry is enhanced with the inclusion of a glossary, bibliography, various appendices, and an index.

Succinct New Film Resource Book Arrives At Last!
Living in Los Angeles and being involved in the film industry, I saw this book, glanced through it and immediately bought it.All I ever wanted to know about the different career opportunites available in the film industry are named and defined with details such as employment and advancement prospects, training needed, salaries and so on.As I had been considering changing careers within the industry, I found this book to be the exact one necessary for me to define what other related employment opportunites were available to me.No other such book was on the shelves!Finally a concise, succinct albeit encyclopedia-like book/guide is here to delineate all the jobs I ever wanted to consider in the highly competitive world of film.This book is a must-read for anyone interested in working in this exciting, no-two-days-alike world.

Succinct New Film Resource Book Arrives At Last!
Living in Los Angeles and being involved with the film industry, I saw this book, glanced through it and immediately bought it.All I ever wanted to know about the different career opportunities available in the film industry are named and defined with details such as employment and advancement prospects, training needed, salaries and so on.As I had been considering changing careers within the industry, I found this book to be the exact one necessary to define what other related employment opportunities were available to me.No other such book was on the shelves!Finally a concise, succinct albeit encyclopedia-like book/guide is here to delineate all the jobs I ever wanted to consider in the highly competitive world of film.This book is a must-read for anyone interested in working in this exciting, no-two-days-alike world. ... Read more

Product Description
Innovation in technology means that almost anyone can make an independent film these days. Although this may be good news for aspiring filmmakers, it also means that the oversupply of independent films on the market has caused acquisition prices to dramatically decrease. As a result, producers and investors rarely recover their initial investment in the films they make. But don't be discouraged! Use this book to learn the realities of the market in advance and map out a winning distribution plan.

This comprehensive manual for filmmakers and producers dedicated to film distribution and the marketplace could mean the difference between getting your film out to the public and keeping it "in the can." Learn how to sell your movie to a studio, a cable network, a video distributor, or an international buyer. Self-distribution and other alternatives to traditional distribution are also considered. As well, you'll hear some success stories from producers and hear exactly what buyers are seeking.

Stacey Parks has worked with dozens of hungry filmmakers to get their films a distribution deal and knows how frustrating the whole process can be. Let her tell you how you can take control of your filmmaking career and start getting your work seen by audiences with a few little-known distribution secrets.

Features include:
* Interviews and case studies with producers and distributors
* Ten Ways to Market Your Film for Self-Distribution
* Sales Projections per Territory
* Distribution Resource Listings
* Negotiation tips for distribution agreements
* Sample distribution agreements

* What you must know to get your independent film distributed
* Written by a distributor who knows the process inside and out
* Interviews with buyers and acquisitions executives from every sector of the business on what kinds of films they look for, what they're sick of seeing, and how their acquisitions processes work ... Read more

Customer Reviews (33)

A must-have for ALL independent filmmakers
This book was recommend to me at a film distribution seminar taught by Allen Chou. The book covers specific case studies on films, and topics that deal with distributing an independent film in today's economy, which makes it stand out from a lot of other books on distribution. "The Insider's Guide.." also covers some topics not covered in Chou's seminar. Parks' experience as a sales agent for 100's of films gives her a diverse perspective on the distribution landscape. Highly recommended.

VERY GOOD
I THINK EVERYONE MUST READ THIS BOOK TO TOTALLY UNDERSTAND WHAT FILM DISTRIBUTIOPN IS ALL ABOUT.

Simply an amazing guide to distribution and the entertainment industry!!!
I recently finished reading Stacey Parks book, The Insider's Guide to Independent Film Distribution, and it was amazing. I feel so enlightened and have a much greater understanding of the entertainment industry now.

I'm an indepdenent producer and having the knowledge I have now, simply from reading her book makes me feel so much more confident that distribution is attainable if you do the necessary work. I have a feature in development and truly look forward to all the possible opportunities, which I do not believe I would have had before.

So thank you for being a mentor in this intense and competitive industry.

Sincerely,
Ryan Ullman
www.hailstormentertainment.com

The Insider's Guide to Independent Distribution by Stacey Parks

I just finished The Insider's Guide to Independent Distribution -
wow! - I learnt so much. I have read lots of books recently, but
I never felt quite ready to face the whole gamit until I put down Stacey's bookyesterday. All the gaps in my information were immediately sorted. Whoever readsthis - please thank Stacey from South Africa. I'm
gearing up to do an independent psychological thriller titled: 2010. Kind regards
- Rudy!

An Excellent and Invaluable Resource!
I have worked in the entertainment industry for more than 15 years and have represented many filmmakers, some established and some just starting out. I can't think of a better resource both for the uninitiated and for those who are back in the current market with a new film. Too often novice (and even not so novice) filmmakers overlook the fundamental points to consider in making a film that is capable of being sold and distributed not just domestically but internationally. Certain missteps can mean the difference between finding the right distributor for one's film and not being able to secure distribution.At the end of the day, a film (its characters, plot, storylines, etc.) must be marketable and must appeal to an audience but there is of course much more to consider.Ms. Parks cuts through the clutter and distills all the information out there leaving just the critical points that are essential for every filmmaker.I recommend this book to my clients even at the risk of losing some business given how comprehensive and instructive this book is.Yes, it's that good! ... Read more

Product Description
• Insider author gives no-nonsense advice
• Required reading for film students, educators, anyone interested in film

From script analysis to post production, here is the all-inclusive guide to directing for film and television. Written by noted director-producer Myrl Schreibman, The Film Director Prepares offers practical insights on filmmaking, using real-life examples directors won’t learn in school. With topics including working with actors, using the camera to tell a story, setting mood, staging, maintaining performance levels, covering shots, and directing for different mediums, The Film Director Prepares will leave new directors truly prepared for their careers. ... Read more

Customer Reviews (9)

Excellent
Thank you very much. I used it as a gift for my sister who works in peruvian film industry and she loved it.

ESSENTIAL READING FOR ALL DIRECTORS, PARTICULARLY NOVICE
If you've never directed a film before or need to brush up on your technique, The Film Director Prepares will provide you with the confidence that it can be done. Myrl A. Schreibman is a veteran in the field, and the experience he shares can be summed up as 'directing is an intuitive and creative process'. The only bizarre characteristic of this book is that Myrl A. Schreibman advises against relying heavily on storyboards when directing, and yet the book includes a storyboard software.

In a nutshell, this is essential reading. As a new director who is in the process of directing my first feature film 'Six Lovers' - [...] - Myrl A. Schreibman's book is guiding me through the process. I also teach scriptwriting and script adaptation at university and now make reference to this book when advising my postgraduate students on the relationship between script writing, storyboards and directing.

The Film Director prepares: A Complete Guide to Directing for Film and TV
This unique book is one of the best Film and Television Directing books that promises satisfaction and truth. Myrl A. Schreibman is an authentic and creative author that incorporates wisdom throughout the book rather than regurgitating his knowledge. Experience is another thing that this book offers which creates a pragmatic platform for the reader that ultimately functions as motivation and inspiration. This book is a powerful tool for any beginning, intermediate, and even advanced student or professional of Film and Television Directing.

Great Resource!
The Film Director Prepares: A Complete Guide to Directing for Film and TV is a great text and resource for the beginner looking at the construct of filmmaking and the director's role as well as great advice and insight for those at intermediate and experienced levels. The added CD from Frame Forge is outstanding and invaluable for storyboarding your project. Overall an excelent resource!

A MUST BUY FOR ALL FILM DIRECTORS
I just finished a feature length screenplay that will soon become a feature length film. To prepare for production I decided to purchase two books: Creative Producing A to Z, and, A Film Director Prepares, both by Myrl Schreibman. Having just finished reading them both, I now know I could not have made two better choices. Buy them both, read them both, then read them both again! I promise, your film career will be well served. ... Read more

Product Description
The history of international cinema is now available in a concise, conveniently sized, and affordable volume. Succinct yet comprehensive, A Short History of Film provides an accessible overview of the major movements, directors, studios, and genres from the 1880s to the present. More than 250 rare stills and illustrations accompany the text, bringing readers face to face with many of the key players and films that have marked the industry.

Beginning with precursors of what we call moving pictures, Wheeler Winston Dixon and Gwendolyn Audrey Foster lead a fast-paced tour through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer generated imagery of the present day. They detail significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s.Special attention is also given to small independent efforts in developing nations and the corresponding more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, censorship and regulation and how they have affected production everywhere, and a wide range of studios and genres. Along the way, the authors take great care to incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts.

Compact and easily readable, this is the best one-stop source for the history of world film available to students, teachers, and general audiences alike. ... Read more

Customer Reviews (1)

New, supplement book
I bought this book as a supplement to my Film Appreciation Class in College.I found it informative, especially if you are a movie buff. ... Read more

Product Description
A Simon & Schuster eBook ... Read more

Customer Reviews (6)

Oldie, but a goodie
If I had known it was written in 1986, I might not have purchased and read this book. That would have been a big mistake. Obviously, technology, imagers and instruments have changed since then, but the important things discussed herein by so many experienced cinematographers haven't. Collaborating with designers, working with directors, working with different budgets, and practical examples of lighting are still applicable. The number and bona fides of the contributors make this an advanced course in film and video lighting.

Not for the beginner
As an amateur seeking to grow in professional production,this book was a great transitional piece.LOVED IT.Keep in mind that I was already familiar with lighting terms and techniques.This just helped me to polish my technique and better understand which lights do what etc....

If you have done several music videos, small indie projects etc,than this book will help you get to the next level.If your a beginner you'll be lost.

Overall,great stuff,a little beefy at times,but worth it.

Not Useful for someone new to lighting
If you are looking for a good, instructional book on lighting setups and techniques...keep looking.This book may be useful to a seasoned director or gaffer, but is rather useless for beginners.This is essentially a book on interviews, and while has some techniques discussed throughout, is not presented in a way that would be useful for someone hoping to learn the finer details of lighting.

A definate must read for cinematographers and directors
I am a director and found this book to be really intersting.I really enjoyed hearing advice and techniques from a collection of accomplished cinematographers and gaffers.Too many books just merely point out that there are many ways to approach lighting a scene.This actually shows how different people choose to light particular scenes.

The only complaint that I have is that it is a bit out-dated.Personally, I use a lot of newer lighting equipment that was not mentioned (especially Kino Flo lights).Nevertheless, still probably the best lighting book I have encountered.

Not just a dull technical book . . . very interesting . . .
I am an aspiring D.P., interested in lighting and camera operation. This book gives a good insight to the relationship between D.P. and director. It does not give dull "how to set up lights," but provides someinteresting information provided by some outstanding cinematographers, manyare members of ASC. I found it to be an excellent read. ... Read more

Product Description
From shadowy figures, strange mists and apparitions to angels and demons, Ghost Photos is a compendium of extraordinary phenomena caught on film.The author has spent over 10 years studying thousands of photographs and here he presents a collection of the most intriguing in seven enigmatic chapters.This book includes a gallery of explainable photographic effects that are commonly mistaken for pictures of ghosts. ... Read more

Customer Reviews (7)

Boo!
Loved the photos!

Susan Kelley, Author

Ghostly Encounters of the Paranormal Kind

Ghost Photography at its best!
160 pages filled with truly amazing ghost pictures from all around the world. These photos aren't the run-of-the-mill stuff that you constantly see on the Internet. I was impressed with the selection and quality of the pictures presented. Most people I show this book to want to either borrow it or find a copy for themselves. Apparently the pages are high quality photo paper because every page displays brilliant color. This book has prompted my family and some of our friends into going through our photo albums in search of ghostly phenomena. We have even begun organizing our first ghost hunt! I look forward to the author's next book!

PERFECT coffee-table book! Great value too!
My family is really enjoying this book! We have it on our coffee table & everyone that comes over just HAS to look at it! The pictures are amazing & the stories are SO interesting! My favorite part of the book was when the author described the different types of ghost photos, I learned a lot. My teenagers & their friends LOVE this book also. (I've had a couple different moms call me to see where they can get it. Great gift idea!) With all the use I thought the book would be showing signs of wear by now but it still looks as amazing as it did the day it arrived. I would recommend this book to anyone, ghost lovers or not...this is a very cool book!

Good for a few laughs
If you want a few good laughs, seeing all the things people fall for, then this may be right up your alley.

On the other hand, if you get tired of spotting obvious film artifacts, and can't easily spot ghosts, then this may not be for you.

I find it strange the author claims to be a ghost hunter, yet can not seem to put basic logic together.

Great service!! Great Book!!
my book arrived in just a couple of days after I placed the order! I will be buying from you again! also, I love the book. Great pic's! Thank you! ... Read more