Customer Reviews:
Explotation Goodness.......2007-09-14
This book is an excellent companion piece to the two movies that were part of the in theater double feature collectively known as Grindhouse.
The book treats us to plenty of pictures of not just the lovely ladies, of which there are many, but of everything from the movie. Included is the script for Planet Terror along with plenty of commentary about the filmaking process and the support network of both Robert and Quentin.
Unlike other film related books this one is not a fluff piece, there is a lot of material between the covers and this book is definately worth reading more than once.
Awesome.......2007-08-24
It's everything I expected and more! Loads of pictures and information. Even QT's AMI playlist. I love it XD
What a Ride.......2007-06-27
Talking about the movie, the girl riding on the hood of the challenger was quite a stunt and I have to admit that it was original and very edgy.
The girls in this movie were well cast and Cherry is hot.I can't wait to buy the DVD, hurry up and release it!
Not sleazy at all.......2007-05-25
Great transaction! No SLEAZY here! The book is great. The shipping was super fast. Thanks a whole bunch!
Grindhouse: The Sleaze-filled Saga of an Exploitation Double Feature.......2007-05-18
fantastic book with interviews, heaps of behind the scenes info and photos, screenplay for Planet terror and the trailers a very comprehensive book for any movie lover
Book Description
What does it mean to turn one of the great graphic novels of our time into a major motion picture? In 1998, Frank Miller shook the comics world with his groundbreaking series 300. Marking Miller's first collaboration with watercolor artist Lynn Varley (Ronin, The Dark Knight Returns) in over a decade, 300 was a gritty reimagining of a battle in which 300 Spartan soldiers fought to hold back the entire Persian army. The series won five Eisner Awards, including Best Limited Series, Best Writer/Artist (Miller) and Best Colorist (Varley). 300: The Art of the Movie takes you behind the scenes as director Zack Snyder (Dawn of the Dead) adapts 300 to the silver screen. With 200 pages of production photos, concept art and much, much more, 300: The Art of the Movie is sure to delight Miller fans and movie buffs alike.
Customer Reviews:
Concepts galore.......2007-08-26
Translating a graphic novel into the world of cinema can be a tricky business.
And the first step is concept art -- creating basic images of the characters, costumes, and important, visually-striking scenes. "300: The Art Of The Film" is crammed with such images, detailing virtually every part of the movie... but it's very skimpy on explanations and information.
It starts off with a couple of prefaces -- one by an expert on military history, and the other explaining the purpose of revealing the concept art. Then concept art itself: it basically outlines the story, beginning with the "inspection" of newborn Spartan boys and ending with another battle brewing between the Spartans and Persians.
These include pages and pages of rough sketches and detailed drawings for the cinematogrpahers, some representing only a few seconds (a fist hitting a slave's face). Then there are plenty of costume sketches, depictions of unreal-looking monsters, tents, and the gorgeous sets for things like Xerxes' opulant golden litter. Actually, it's more of a portable house.
But it has more than just concept art -- there are clay models, special effects shots, elaborate makeup and costume for things like the hunchbacked traitor, Xerxes' chain-porn costume, and things like knives stuck in a eye, and even green-screen shots before the CGI gloss was put on. And there are shots showing how they managed certain effects, like the people who controlled the animatronic "wolf."
And with every sketch and behind-the-scene shot, they show the finished result as it appears in the movie. A lot of them have the original art by Frank Miller as well, to show us how close the movie actually is to its source material. Visually speaking, it's a feast of behind-the-scenes information.
Buuuuut....
"300: The Art Of The Film" suffers from a lack of background information -- they show us loads of information, but don't tell WHY they were done, or even the intricacies of HOW. Come on, they must have had some trial-and-error in this film. While we can see the art for ourselves, we're rarely told much about why they chose this costume, or that monster, and how they created some of the weirder visuals.
So while the book is visually rich, it feels incomplete, like they left a lot of the text out to keep the guide from getting too long. Sometimes pages and pages will go by with only a few sparely-written paragraphs describing the intricacies of the movie. "300" is a visual movie, but come on, there's more to it than that.
"300: The Art Of The Film" has loads of art, but not much explanation in how it got from art to movie. It stumbles badly as a behind-the-scenes guide, but it's still an intriguing visual read.
Pretty Nice Book.......2007-07-28
This book has quite a few photos showing the making of 300 but the biggest draw (to me) was the similarities to the 300 Graphic Novel. Size, shape and cover picture are the same. The book shows a lot of photos of how the digital images were added to bleak green screen sets, how things like the wolf were made, etc. Its a good book for 300 fans it's a must have for those who have the Hardcover graphic novel (to display them side by side).
Misinterpretations Aside.......2007-07-17
It seems that some people are having a hard time realizing that the title of this book includes "The Art of the Film" and are searching for filming procedures, or sociopolitical explanations on behalf of the film when, in fact, this IS an art book. And for what it is, it does a great job revealing the artistic vision behind the film 300. From makeup effects to storyboarding to the comic conversion of the film, "300: The Art of the Film" makes a stylistic presentation that is worthy of the aesthetic care of the movie itself. Anyone who is interested in the artistic background in the movie 300 will appreciate the clean layout and complete presentation of this book.
A great companion..........2007-05-28
A great companion to a great movie and a great graphic novel.
Not often do you get to see behind the blue (or green) curtain to see how a movie is made.
This book gives you that insight!
Newsflash: Persians are Real People!.......2007-05-16
This is an interesting making-of book about an interesting movie based on an interesting graphic novel. I bought this book to see if I could get a clue as to why the Persians were portrayed as inhuman Orc-like mutant monsters, and while the book has something to say about the 'how,' it is curiously silent on the 'why.' Unlike fantasy creatures like Orcs, Persians (also called Iranians) are real people. They were regular folk in the days of the Battle of Thermopylae, and they continue to be regular folk today. I would think that Christians in particular would take issue with the misrepresentations of Biblical history detailed in 300: The Art of the Film. The Xerxes in "300" is the same Xerxes as in "One Night with the King"!!!
Amazon.com
Writing for the screen is quirky business. A writer must labor meticulously over his or her prose, yet very little of that prose is ever heard by filmgoers. The few words that do reach the audience, in the form of the characters' dialogue, are, according to Robert McKee, best left to last in the writing process. ("As Alfred Hitchcock once remarked, 'When the screenplay has been written and the dialogue has been added, we're ready to shoot.' ") In Story, McKee puts into book form what he has been teaching screenwriters for years in his seminar on story structure, which is considered by many to be a prerequisite to the film biz. (The long list of film and television projects that McKee's students have written, directed, or produced includes Air Force One, The Deer Hunter, E.R., A Fish Called Wanda, Forrest Gump, NYPD Blue, and Sleepless in Seattle.) Legions of writers flock to Hollywood in search of easy money, calculating the best way to get rich quick. This book is not for them. McKee is passionate about the art of screenwriting. "No one needs yet another recipe book on how to reheat Hollywood leftovers," he writes. "We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent." Story is a true path to just such a rediscovery. In it, McKee offers so much sound advice, drawing from sources as wide ranging as Aristotle and Casablanca, Stanislavski and Chinatown, that it is impossible not to come away feeling immeasurably better equipped to write a screenplay and infinitely more inspired to write a brilliant one.--Jane Steinberg
Book Description
Robert McKee's screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience.
In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.
Customer Reviews:
Get this book........2007-10-10
This is the quintessential screenwriter's bible. I've written tons of screenplays, and I still refer to this book again and again. If this isn't in your library, you're not serious about writing for film/TV!
Recommended by son, to mom and now you.......2007-09-23
Transforming a lifetime of short stories to screenplays has become my focus. Struggling with story, my son told me he had a teacher in film school suggest this book. It helped him. Now its helping me. Hopefully, you'll be next. Screenplays are perplexing if you've always written in short story or book form. McKee assists in making the necessary thought revisions you must in order to succeed.
A must read book.......2007-08-02
I bought this book three years ago, I keep referring to it whenever I am stuck in a script problem.I like the scene structure part very much, it is very focused, easy and helpful.
This is not a kind of book that you would read in the bus station or in one session.It is a lifetime friend once you decided to be a screenwriter.I am strongly convinced that "Story"is most useful for film and TV writers and not for any other writing genre.
Buy it, read it, re-read it and start writing knowing that it is a long journey.
There is only one way and that is McKee's way because he says so.......2007-07-30
If you can look past the contradictions, McKee's enormous ego, and writing as coherent and clear as that in Dianetics, you will occasionally find a helpful insight in this book.
Write the truth..........2007-06-26
In my experience books tested and proven before being written tend to be the best. A prime example - Angela's Ashes, won the Pulitzer Prize, fine tuned by the author McCourt doing a one man show talking about his wicked cruel childhood, growing up in Limerick, Ireland.
In the same way, Story evolved out of McKee giving lectures, and now, he continues to spread the word.
McKee is definitely an antagonist as opposed to a protagonist, and in person a funny and engaging fellow, and an excellent teacher. As you might expect, he does know how to tell a funny story, and he had a little fun at the expense of some of the sacred cows in the industry. I particularly liked his rant about Roger Ebert, who took his name in vain once but never again.
Anyway, the book shines a bright light on the elements of story. Conflict is to story what sound is to music. Story trumps dialogue in importance. Setups, payoffs, turning points, structure, inciting incident, protagonist vs antagonist, resonating and contrasting subplot, negation of the negation. Emotional value of scenes. Arc of the character. Act structure, rhythm and pacing. Text and subtext, beats, exposition. Character, dimension, step outline. All this and so much more.
Perhaps the most important single thing I learned from McKee is..treatment. The character treatment may be twice as long as the screenplay. This is the key difference between aspiring screenwriters, and successful ones.
I open my book, and look at his personal inscription to me, which I am sure he has written to many others... "Write the truth." I will, Mr McKee, I will.
If you were to find this review helpful, please click yes.
Book Description
Katy Hart is thrilled about her future with Hollywood’s Dayne Matthews. But as she plans a wedding and looks for a house on the shores of Lake Monroe, she receives tragic news. Now she and the members of the Baxter family must travel to Los Angeles and sort through their options. While paparazzi open fire on the Baxter family, Luke Baxter must wrestle with feelings that have troubled him for nearly a year. Ultimately, the Baxter family must pull together one last time in an act of service and love to help Katy and Dayne find what they’ve always been looking for--a chance at forever.
Customer Reviews:
Karen Kingsbury #1 Writer~.......2007-10-11
Anyone who has ever read any of Karens books knows that there is no other writer in this day and age that hits every emotion that we all go through in this life, in our own search for why we are here, who we are, and the battles that can and do happen in this life.
The number one moral is that Gods Love and our love for others is the strength to keep us all carrying on in this journey in life. There is hope in all of her books.
It is such a "blessing" to read a book, that everyone whether a believer or not in God who touches our lives in everyday situations with family and friends. There is not one of her books that I have ever been disappointed in. Once you read one of her books you will be "hooked" and can't wait to read the next one.
Seagull
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Las Vegas, NV
Can't put them down.......2007-10-10
A friend got me started on Karen's books. Now I have read almost all of her books. When I start one, I find it very hard to put it down - I just want to keep reading to the end. All the books in this series and her other series' are great. I can't wait to find out what will happen to the Baxter family next.
God's Faithfulness.......2007-08-02
The book is a wonderful nonfiction that displays God's awesome faithfulness and presence through the continued story of The Baxter Family. I was so taken that I could hardly put the book down and I'm eager to begin the Sunrise Series. These books are encouraging in my life as well, reminding me of God's promises and truths in my own life. Thank you for encouraging me in my walk with Christ!
INSPIRATIONAL LOVE STORY.......2007-07-19
This is one of Karen Kingsbury's best books, and certainly her best love story. An award winning book, it's also by far the best of the Firstborn series. She's crafted the characters in the Baxter family so well that you feel as though you are a member of this family. I highly recommend Forever! The Candidate: A Novel
Great read, and excellent marriage advice.......2007-07-18
I thought that this new part of the series was packed with excellent marriage advice that is both practical and Biblical. I love this series, and how Kingsbury portrays God's graciousness and mercy.
Book Description
Faced with increasing global competition, every industry, business, and service organization is restructuring itself to operate more effectively. Cost-effectiveness and product reliability without excess capacity are the keys to successful activity in business, industry, and government, and these keys are the end results of methods engineering.
The 11th edition of Methods, Standards, and Work Design provides practical, up-to-date descriptions of engineering methods to measure, analyze, and design manual work. The text emphasizes both the manual components and the cognitive aspects of work, recognizing the gradual decline of the manufacturing sector and the growth of the service sector. The importance of ergonomics and work design as part of methods engineering is emphasized not only to increase productivity, but also to improve worker health and safety, and thus, company bottom-line costs.
Customer Reviews:
Great Book.......2007-09-11
Learn alot from the book about Project management. It does not only apply to management but apply to daily life. It teaches you more than there is. Definitely recommended.
Methods, standards and work design.......2005-09-26
I got the book on the first day that it was expexted to arrive and its in great shape.
11th edition.......2002-08-30
I am one of the professors Dr. Seifert is talking about in his review. I continue to use this textbook in both graduate and undergraduate classes on job design. Every semester I search for a better alternative, but am unable to find it. I find this book to be helpful and a good reference that incorporates ergonomics, work design, and methods engineering. (I also use old versions of the lab book that contain very well-made forms.) This text contains the best discussion of time standards I have seen. The 11th edition contains a new chapter on cognitive work. This is a topic I have always discussed and am glad to see formal treatment of it in the new edition. As with any textbook, I do not use it as the sole source of information taught in the classroom and would not recommend it as a sole source. I use the topics in the text to launch discussions and research papers on systems theory, lean, cycle time, environmental, process improvement methodologies, ethics, and other issues for manufacturing and non-shopfloor applications. I find the book especially useful in the area of work design and time standards.
Students have found these skills useful in the workplace. Many of our students work in process improvement and lean implementations. They use these skills to reduce cycle time and balance the lines to meet the demands of customers. Good implementation of lean requires knowledge of how to balance a line to meet customer demand, identify constraints, reduce cycle time, eliminate waste, understanding and dealing with change, cost/benefit analysis, and a direct understanding the relationship between the customer demand and production rate. This text touches on or covers in detail these topics.
I find that the book appears to focus on machine and operator efficiency and utilization, has a primarily decompositional view of work, and concentrates mostly on shopfloor operations. Even with these drawbacks, the text gives the reader solid information on improving workplace design and reducing cycle time while improving worker safety and productivity. I use the discussion on machine and worker utilization to compare and contrast with other manufacturing philosophies, and to relate what the text is covering to more 'big picture' aspects. Other topics not included are a good discussion of maintenance operations and quality. I suggest using other sources to incorporate those topics. All in all, the book is not perfect. It is a very good reference book and text book.
1955 Concepts in 1999 Edition.......2000-10-07
This antiquated textbook is still used at colleges and universities throughout the United States. The first edition of this book was published in 1955 and, after nine more editions, appears largely unchanged in its mentality. Specifically, the textbook is written for a time when corporations had legions of industrial engineers who did nothing but detailed and tedious time and motion studies. Unfortunately, today's dynamic manufacturing environment renders many of the authors' techniques impractical or even financially hazardous. For example, it emphasizes the need to maximize machine utilization (even if the machine is not considered a bottleneck operation). Practices like these lead to excessive inventory and sub-optimization of the collective manufacturing process. In summary, I believe this textbook does a great disservice to those manufacturing firms that have achieved dramatic productivity gains through the application of lean manufacturing techniques.
1955 Concepts in 1999 Edition.......2000-10-07
This antiquated textbook is still used at colleges and universities throughout the United States. The first edition of this book was published in 1955 and, after nine more editions, appears largely unchanged in its mentality. Specifically, the textbook is written for a time when corporations had legions of industrial engineers who did nothing but detailed and tedious time and motion studies. Unfortunately, today's dynamic manufacturing environment renders many of the authors' techniques impractical or even financially hazardous. For example, it emphasizes the need to maximize machine utilization (even if the machine is not considered a bottleneck operation). Practices like these lead to excessive inventory and sub-optimization of the collective manufacturing process. In summary, I believe this textbook does a great disservice to those manufacturing firms that have achieved dramatic productivity gains through the application of lean manufacturing techniques.
Amazon.com
Film Directing Shot by Shot offers a good introduction to the rudiments of film production. Steven D. Katz walks his readers through the various stages of moviemaking, advising them at every turn to visualize the films they wish to produce. Katz believes that one of the chief tasks of filmmaking is to negotiate between our three-dimensional reality and the two-dimensionality of the screen. He covers the number of technical options filmmakers can use to create a satisfying flow of shots, a continuity that will make sense to viewers and aptly tell the film's story. Katz provides in-depth coverage of production design, storyboarding, spatial connections, editing, scene staging, depth of frame, camera angles, point of view, and the various types of stable compositions and moving camera shots.
Book Description
A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies
since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form.
Customer Reviews:
Chicken scratches vs. Detailed Storyboards.......2007-08-19
I have used this book numerous times for my teachings in which students go through the process of making a short film with certain limitations being imposed. It is part of a process that I call "fast filmmaking". I like the examples that Katz presents, specifically that it is not the quality of the drawing, but how the drawing communicates the director's vision to the rest of the crew. I will usually have a student "explain" their storyboard to the class, and it is amazing how a few chicken scratches can give as much details as a fully detailed storyboard. Kudos to Katz for explaining the creative aspect of directing, and Michael Weise Productions for publishing these types of books.
of moderate interest to readers of video magazines.......2007-08-13
as a long-time reader of videographer's magazines, I didn't find much of interest in this book. If I were new to the trade, I'd probably have found it more useful. For that reason, I gave it a rather high rating of 4 stars
Mind-opening, even if you aren't interested in directing.......2007-06-30
I've worked in the graphics design business for years, but more recently I've grown interested in working with video, primarily shorts and documentary work. I was looking for a book that could help teach me the "language" of motion and visual storytelling, and this book fit the bill. In fact, I found it to be incredibly inspiring as a student of art in general. It's extremely well-written, chock full of practical examples, and contains numerous time-worn techniques as well as cutting-edge experimentation. One funny thing: since it was written a few years before the desktop digital video revolution began, it talks about some of the difficult aspects of shooting which are now in many ways moot. But it's good to hear about the history of the craft.
If you have any interest in all in shooting, directing, or producing any kind of motion picture, show, or short, you'll definitely want to buy this book. However, be forewarned: you'll never be able to watch movies the same way again. You'll begin to pick up all the subtle nuances of filmmaking without even realizing it, so don't feel bad if you have to force yourself to re-engage with the actual story as you're watching!
Useful, pleasurable.......2007-05-07
I'm a college student, not at film school, who makes videos as a serious hobby. I thought this book was much better than other titles in the same market, because it's so specific. Instead of telling you what anyone with common sense knows, like "keep continuity" and "composition can affect the mood of a scene," this film lays it all out in detail. I recommend this for everyone who wants to improve. Even if you're not particularly interested in storyboarding, you'll learn how to think about your sequences in advance much better.
Learning the Rules Before You Break Them.......2007-01-13
Even though many of the great filmmakers may have not utilized storyboards, every one of them has pre-visualized their films.
Pre-visualization is the essence of what it means to be a director. A director can only be effective if he/she properly prepares for each scene. Even if one does not have every shot precisely planned out, they will still have an idea of the look and the flow of the process.
There are certainly many people who feel directing should be intuitive, that there should be no structure to the process or else creativity is stifled. This is a valid point from the perspective of the artist.
What is wonderful about this book is that it gives extensive insight into WHY one should cover a scene in a certain way. Directing as a profession requires a certain amount of preparation and PROOF that you have a handle on the film. Producers want reassurance that you have a vision worth pouring tens of millions of dollars into. Armed with the ability to properly express yourself in regard to your vision, you will have a much easier time convincing others to follow you.
So, in the end, if you are interested in studying the language of film and the methodology behind classic film composition and editing, then this book and the accompanying Film Directing: Cinematic Motion are essential.
Average customer rating:
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Out With the Stars: Hollywood Nightlife in the Golden Era
Jim Heimann
Manufacturer: Abbeville Press
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Customer Reviews:
A Real Treasure!.......2004-06-27
This is one of those books I can't recommend highly enough if you love old Hollywood or the flamboyant architecture and graphic design of Hollywood in the 20's - 50's. I picked it up on a cut-out table in New York about 10 years ago and have come to appreciate it as one of the best books in my library - in fact it's one of those books that is always getting borrowed from friends who are graphic designers or work at ad agencies looking for inspiration.
Jim Heimann deserves much praise for assembling what is obviously a huge labor of love with lots of great photos and illustrations that you will never see anywhere else - everything from cocktail napkins and matchbooks to beautiful interior photography and paparazzi pics of the stars at play.
Also I'd like to disagree with the review - I actually found the writing in the book to be pretty engaging. It's fairly straightforward and to the point., luckily since there is a lot of history to cover.
Anyway it's an amazing book that I would highly recommend.
Customer Reviews:
Film: A Critical Introduction.......2007-09-12
Great book for a humanities class! I recommend it.
Great into to Cinema! Delivery quick and good condition.
A Superior, Well-Developed, Introductory Text . . ........2007-01-29
Whether you are a student or professor, there are a wide range of introductory film texts from which to choose -- it can be a bit overwhelming and a mistake is costly! This is especially true if you are the professor who is selecting an expensive text for your students (and they are all expensive) . . . you want provide them with a text worthy of the expense AND you do not want to invest additional hours photocopying material from other texts to compensate for less-than-fantastic chapters.
With this in mind, allow me to say that Pramaggoire and Wallis' text is the best I have ever encountered . . . bar none. I have used this text for over a year now, and the response has been extremely positive. It may initially seem irrelevant, but this text is extraordinary aesthetically appealing. Why is this important? Because we are talking about professors and students who have an interest in a VISUAL art. This text presents large, lush examples to compliment the text: not all texts invest this effort or expense. Moreover, the selected examples are spot-on . . . they are not randomly chosen BUT are the quintessential example of any given technique.
What makes this text great is both the organization (which others have mentioned) and the accessibility. Let's say you are not taking a formal class in film, you would have no problem reading this text solo. It is that understandable . . . and, let's face it, if an author cannot clearly explain an idea to a lay-person then he/she really do not know the subject. Pramaggoire and Wallis KNOW their subject.
And while there are several "well-written" texts on the market, not all incorporate contemporary examples. While Orson Wells and Ingmar Bergman are key to understanding film, one cannot successful base an introductory text on "The Greats." It simply does not engage the new student. Luckily, this text includes essential examples from film history as well as contemporary examples (like "Super Size Me," "Waking Life," "The Piano" and "Requiem for a Dream"). I am especially fond of the short analysis of Harron's "American Psycho" (an oft overlooked, cinematic masterpiece).
One final reason to select this text: while other writers are rehashing old critical approaches to film, Pramaggoire and Wallis select the most relevant and contemporary ones. They instruct readers on how to view a film in the context of race, gender, sexuality, class, and national identity: all of which are crucial to understanding film! Likewise, they address "film authorship" which is equally as valuable. The text is never bogged-down by jargon (many are) . . . nor is it heavy-handed in its approach. Unlike most texts, this one wants to be understood.
You will find texts with DVD-ROMs, texts with "writing" supplements, texts with online-course access, and other "bells and whistles" . . . but this text does not NEED any of that. (It seems the others are trying to compensate for their short-comings by including "bonus" material . . . but it just becomes MESSY!). I plan to continue using this text as a tool for teaching film . . . it is, BY FAR, the best on the market. It is "smart," beautiful, and completely accessible. Whether you are a professor seeking a new text or a lay-person looking to enhance your knowledge of film, you cannot go wrong with this work. Trust me, it is worth the price!!
Fabulous introduction!.......2006-01-19
This is not only the best introduction to film studies that I've found, it's also a model of how a textbook should be organized and written. After an opening chapter on plot structure and thematic analysis, it goes in-depth into the elements of film form, with chapters on narrative form, mise en scene, cinematography, editing, and sound. The final section includes chapters on documentary and avant-garde film, writing about film, social context, ideology, stardom, genre, film authorship, and the economics of the film industry. Everything is covered very in-depth and in detail, with lots of excellent examples and photos. There is also a helpful film glossary in back. The writing is model of clarity and organization. This textbook is notable for the way that writing instruction is integrated into the text. Each chapter concludes with brief essay which exemplifies the concepts and terms used in the chapter, and includes margin notes which discuss the formal and rhetorical features of a college essay, including organization, research, thesis statement, and so on. There is also a concise chapter devoted entirely to writing about film, including the different kinds of essays typically assigned by professors. Students who read carefully will be well prepared to write film analysis papers for their college classes. Since this is an introductory text, it doesn't try to give complete coverage to film history and film theory, although these topics are introduced. Film history and theory really need to be covered in separate books and classes, as the authors recognize.
As Reference & Textbook for "Intro to Film".......2005-08-26
As a current user of Giannetti's "Understanding Movies", I find this new text to be a breath of fresh air. First impressions: the initial page prior to the content is a splash-page still from Visconti's "The Leopard", a film that perhaps has seen recent resurgence of interest in the film community. Overall, the text tries to convey the thesis of "Film as Art & Cultural Phenomenon" with thorough examples & concise explanations. Also appreciated is the brief desc of "persistence of vision & the phi phenomenon" & other more operational/technical aspects of film, filming & projection equipment.
The book features examples of what could be student film analysis papers. It also goes about analyzing the road to writing essays with an adequate thesis statement.
The book's highlight is the Chapter on "Writing about Film", which will likely help students in their film journal writing & paper thesis formulation. There won't be an intro book to tell the entire "story" of film, but Prammagiore & Wallis's book provides a commendable "structure" with film stills that ties closely to their text.
If you're looking for a summary of general film history in intro film studies, I don't think you'll find it here. Still a highly recommended book for students of film.
Book Description
The definitive biography of Leni Riefenstahl, the woman best known as “Hitler’s filmmaker,” one of the most fascinating and controversial personalities of the twentieth century. It is the story of huge talent and huger ambition, one that probes the sometimes blurred borders dividing art and beauty from truth and humanity.
Two of Riefenstahl’s films, Olympia and Triumph of the Will, are universally regarded as the greatest and most innovative documentaries ever made, but they are also insidious glorifications of Adolf Hitler and the Third Reich. Now, in this masterful new biography, Steven Bach reveals the truths and lies behind this gifted woman’s lifelong self-vindication as an apolitical artist who claimed she knew nothing of the Holocaust and denied her complicity with the criminal regime she both used and sanctified.
The facts and her actions, many unknown until now, bear chilling witness: her passionate enthusiasm for Hitler from her first reading of Mein Kampf; her involvements with Nazi leaders Joseph Goebbels, Martin Bormann, Albert Speer, and Julius Streicher, who advanced her career, and with Hitler, who personally helped finance it; her role as silent eyewitness to wartime atrocities against Jews; and her use of slave labor in the form of concentration camp Gypsies destined for Auschwitz. We see her after the war trying to sell footage to Hollywood under an alias, manipulating a sham “discovery” of the Nuba tribes of Sudan into a career comeback, fighting to disinherit her closest living relatives, and—to the end—unable to express remorse for the millions murdered by the Nazi regime made mythic by her work.
Relying on new sources—including interviews with her colleagues and intimate friends, as well as on previously unknown recordings of Riefenstahl herself—Bach gives us an exceptional work of historical investigation that untangles the past and is also an objective but unsparing appraisal of a woman of spectacular gifts corrupted by ruthless personal ambition.
Customer Reviews:
Good Intro to Leni .......2007-08-29
After reading Jurgen Trimborn's admirable but somewhat inaccessible biography of Riefenstahl, I sought out this book in hopes that it would be friendlier to a Riefenstahl novice such as me. It certainly is an easier read and a much better starting place.
Steven Bach, of Final Cut fame, writes from the standpoint of a motion picture enthusiast. He also has a POV where Riefenstahl's Nazi associations are concerned and he doesn't hide it. For Bach Riefenstahl is the living version of Klaus Mann's Mephisto, a careerist willing to do anything and associate with anyone to advance her "art." He also makes the case (clearly building on Trimborn's work, among others) that Riefenstahl not only had no problem with anything Hitler did or said, she likely agreed with most if not all of it.
Bach's style is that of a gossipy Hollywood bio, which is fine by me, but he's no fan magazine hack. He knows the power of the snide observation and, best of all, how damning Leni's own words were. At times Riefenstahl comes across as downright delusional about her artistic abilities and men's lust for her. To hear her tell it no man so much as entered the same zipcode as Leni Riefenstahl without falling madly in love with her.
Some may have disagreements about Bach's assessment of Riefenstahl's artistic contributions. I've only seen clips of her work so my own opinion is somewhat limited. Bach does make a good case the Riefenstahl either stole the ideas of others or took credit for their work. Bach doesn't buy the argument that the art is more important than the character or actions of the artist. He also doesn't buy that Riefenstahl was much of an artist.
This is no love letter to Leni. It is an entertaining read. Gossipy, slightly bitchy (as one reviewer here has aptly noted), and full of telling details and quotes, this is a easy entry into the myths and controversy that make up Leni Riefenstahl.
Brilliant But Petty and Cruel -- Oh, Wait, That's The Author! .......2007-08-26
Not since Albert Goldman's ELVIS has a dense, full length biography of a sexy, glamorous larger than life legend been written with such sadistic relish, such delicious malicious bitchery and pure venomous guile.
There's no question that Leni Riefenstahl, the stunningly beautiful German woman who made hypnotic propaganda films for the Nazis, was guilty of moral cowardice and hypocrisy, if not during the war, then certainly afterwards. She persisted to the end of her life in wanting to have it both ways -- saying in effect "I didn't know," and at the same time "I was too scared to stop Hitler -- too scared that I would be next." She claimed to have legions of Jewish friends before the war, but she never tried to help them when things got bad, even though she had lots of Nazi influence and power. And she always seemed weirdly out of touch with the human results of Hitler's evil deeds.
The problem is, Steve Bach doesn't know when to quit. He sneers at Leni Riefenstahl not just for the big things -- not strangling Hitler with her bare hands, the way he seems to imagine he would have done -- but for the little things too. The book is full of catty little remarks like, "Leni was always conscious of her hypnotic effect on men" or "Leni didn't mind having handsome, powerful men buy her presents" or "Leni's fearless mountain climbing only made her feminine allure more overpowering to the distinguished male cinema artists who indulged her every creative whim."
It's hard to tell whether Bach hates Leni for being heartless and callous or for being beautiful, talented -- and very knowingly seductive.
There is a much more serious issue here than the hissy ALL ABOUT EVE style bitchery of a jaded Hollywood insider. Bach insists on judging a German film maker by a far more rigorous standard than he would ever apply to the film industry in Hollywood today -- or seventy years ago, for that matter. When Leni goes to Hollywood he brags that the left-leaning Hollywood of 1938 treated the lovely German visitor with scorn -- but how did they treat Margaret Mitchell when she came to town the very next year? Bach has nothing to say about why those same "leftists" failed to prevent the making of a racist epic like GONE WITH THE WIND.
If Leni Riefenstahl shares any part of the guilt for Auschwitz -- and I agree that she does -- then David O. Selznick is equally responsible for the murder of Emmitt Till, the bombings in Birmingham, and all the other hate crimes perpetrated in the Jim Crow south. Bach is in a big hurry to compare Leni to the Stalinist film maker Eisenstein -- arguing in a feeble and half-hearted way that Eisenstein "probably" rebelled at what he was doing. But why not compare Leni Riefenstahl to D.W. Griffiths, or Margaret Mitchell, or David Selznick? All of them dealt in racial hate. They looked the other way while helpless people were tortured and murdered, too. But mentioning America's poisonous history of racial hate would reflect badly on Bach's own milieu. Bach's beloved Hollywood elite never questioned the racial status quo in the Jim Crow south -- at least, not until long after blacks had begun risking their lives to bring the horror of their situation to national attention.
What's really going on here is not genuine, humanistic outrage, but elitist hypocrisy. Bach hates Leni Riefenstahl because he knows that, for all their tiresome liberal cant, just about everyone in Hollywood (and the book world, and the world of leftist Manhattan politics) has the same rat-like survival instincts that Leni had. None of the liberals who demonstrate their courage by hating her guts now ever had to look Hitler in the eye. But they know who would have blinked first. And they know themselves too well to ever show mercy to someone just like them.
Double standard.......2007-08-22
Most of the facts and "facts" in this book cannot be disputed. Only one comment - there were many other people who "cooperated" with the Nazis, but who escape any oprobrium, Richard Strauss name comes to mind. In 1938 he composed "Festliches Praeludium" for the occassion of NSDAP Parteitag, he was the president of Reichsmusikkammer, directly working for Goebbels, he never lifted a finger to help his Jewish friends, etc. etc. Maybe Richard Strauss could be another topic for Steven Bach to delve into.
Good book but, a little too long.......2007-08-11
This was a very good book but, I think Bach gives us too much detail on Leni's life after WWII. I thought the book could have ended much sooner than it did. After all, did we really have to hear about Leni's search for a particular tribe in Africa? It would have suited me fine to hear about her various means of defending herself from various charges as a result of her association with Hitler and the Nazis. I don't see what benefit the inclusion of the African tribe info was to the reader. Still an interesting read.
Leni survives all.......2007-06-14
The author tries and fails to give an evenhanded account of this much reviled woman's life. All this proves once again that the winners write the history. In the meantime he does portray a fascinating and beautiful woman as the opportunist she was without detracting from her worth as a great artist. All in all the best effort so far reflecting an eventful life.
Book Description
This amazing title unites all four Incredible Cross-Sections books in one volume, enlarged and updated with brand-new illustrations-including the TIE bomber, Imperial shuttle, A-wing, and B-wing-along with revised technical introductions, behind-the-scenes pages, glossary, and index. (c) 2006 Lucasfilm Ltd. and TM AUTHOR BIO: Hans Jenssen Hans Jenssen has spent the last nine years in a galaxy far, far away, co-illustrating a total of ten Star Wars books with Richard Chasemore, with whom he has developed a close friendship. They have traveled across three continents, sampled exotic beverages with Boba Fett, and partied with R2-D2. He now lives a quiet life in Devon, England, with his partner and young son. RICHARD CHASEMORE Richard Chasemore has worked as an illustrator and 3-D computer artist in the United States and Europe, most notably on DK's Star Wars: Incredible Cross-Sections and, Inside the Worlds of the Star Wars series. Lately he has written educational books for budding digital artists. He lives on the south coast of England, where he enjoys sports involving boards and high speeds!
Customer Reviews:
OUTSTANDING REFERENCE TOOL.......2007-09-14
Previously, DK Books has release four volumes in their Star Wars cross-sections series, covering the various Star Wars films. In celebration of the 30th anniversary of Star Wars, they've now combines all four of those volumes, along with new illustrations into the massive Star Wars: The Complete Cross Sections. This coffee table-sized hardcover book packs information on every ship and vehicle used in the six films into 152 full-color pages. John Knoll, the Visual Effects Supervisor for episodes I - III, provides the foreword to the book.
The book is basically an encyclopedia for Star Wars ships and vehicles. The items are shown in a cutaway art, allowing the reader to not only see the outside, but also see the interiors as well. This gives fans a unique viewpoint as you generally didn't get a chance to see inside many of these ships and vehicles in the films themselves. Most of these are given a full two-page spread which include data files about each one. The data files provide information such as design and manufacture, wingspan, speed, crew capacity, armament, dimensions, ship or vehicle type, and other special features.
The book begins with Episode I, The Phantom Menace with each of the first three episodes getting their own chapter while the original three films are combined into the last chapter. In addition to the data files, a host of other information is provided on each vehicle as well. Text keys with map lines are drawn to each, pointing out important features of each vehicle. These are about the next best thing to the actual ships blueprints. The detail is simply amazing! On the Naboo Cruiser for example we see where the fuel tanks and fuel lines are located, along with coolant ducts, deflector shield projectors, sensor arrays and even mundane things such as the crew lounge and locker areas. These allow the reader to get inside these massive vehicles and ships and almost take a virtual tour through them.
Get up close and personal with Jango Boba Fett's heavily armed Slave I ship with its blaster cannons, laser cannons, missile launchers, and mine layers. Other ships included from the episodes I to III include Padme's Starship, ARC -170 Fighter, General Grievous's Wheel Bike, Pod Racers, and Palpatine's Shuttle.
The final chapter dealing with the three original films has certainly the most popular ships for fans including the Millennium Falcon, AT-AT Walker, Jabba's Barge, and Darth Vader's Tie Fighter. Several of the major ships and vehicles get fold out sections that provide four full pages worth of data. Chief among these is the first Death Star. The Slave I makes a second appearance here that includes the modifications made by Jango Fett's son, Boba.
Hats off to DK Books for also profiling the two artists whose brilliant work is on display here, Hans Jenssen and Richard Chasemore. The detail and effort that went into these drawings is truly phenomenal. This is one of those items that is tailor-made for the hardcore Star Wars fan, a reference tool that can be consulted over and over again.
REVIEWED BY TIM JANSON
5 stars for COMPLETE Cross-sections!!.......2007-08-23
People should get Star Wars Complete Cross-Sections.
Here are three reasons why anyone who likes Star Wars should get this book.
1. Star Wars Complete Cross-Sections includes information about ALL six episodes in one book. It's great to have it all in one volume instead of four separate books (Episodes I, II, III, and the Trilogy).
2. Star Wars Complete Cross-Sections has extra content not included in the separate volumes. The Imperial Shuttle, the RZ-1 A-Wing, and the B-Wing Star Fighter are new material in the combined book.
3. Star Wars Complete Cross-Sections is jam-packed with large full color illustrations and tons of fascinating facts. The pages are crowded, but the information is great.
The Star Wars Complete Cross-Sections book rules the galaxy and any Star Wars fan would just love to have a copy. I checked it out of the library, but now it's on my Christmas wish list!!
My 5 year old loves it!.......2007-08-11
I purchased this for my 5 year old because he loves Star Wars. We have a couple of other Star Wars guides. He loves the cross section book because "it shows all the ships and details and that's cool". He loves finding something small that I would have missed. Great book for all ages.
Not What I Expected But Great Nontheless.......2007-07-05
Don't know why but I was expecting technical drawings of the Star Wars vehicles. Instead I get beautiful drawings of the vehicles and some of the characters which was an unexpected plus. Especially for scale comparison with some of the bigger vehicles. The reason this item dose not get five stars from me is because when reading the book things can get somewhat confusing there is so much info on each page it practically spills out from the sides. I would recommend it to anybody who wants more information on their favorite Star Wars vehicles!
Star wars.......2007-06-09
My son has not put this book away since we bought it. It goes on every car ride with us, and even to school for free time reading. The pictures are beautiful. He absolutely loves it.
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