She has published Eisenstein's Ivan the Terrible (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), and Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. No one else seems to get the point of film criticism as well as Rosenbaum, or to pursue it with such prickly independence. Louis and Double Indemnity in long, delicately cadenced sentences that would never survive the copy editor now. If you’ve ever wanted to learn more about the film industry then this book is gorgeous resource covering one of the most popular movie franchises of all time. I’ve put together this huge list of the best movie art books featuring the best that cinema art can offer.

We take pride in offering a wide selection of used books, from classics to hidden gems, ensuring there is something for every literary palate.It is very detailed with tons of rare production art, not to mention behind-the-scenes interviews and segments with the crew. Platonic mistrust of mere appearances goes into late-1960s overdrive here, but Debord’s analysis remains astonishingly prescient given that the spectacle – described as “the other side of money” – is now the element we live in. The Ghost in the Shell fandom has its roots in 1990s Japan and quickly became a hit in America during the early 2000s. Francophiles, in general, know a lot about Cahiers du cinéma (and the whole artistic-intellectual culture that goes with it) and almost nothing about Positif (ditto).

The only general dictionary we trust: absolutely partisan while commendably catholic in its scope and taste – just check out the list of auteurs worth discussing more deeply at the very end of the second edition from 2003. This may be a poor translation of Bazin, inadequately edited, but it was my generation’s first contact with cinema’s greatest post-war critic-philosopher and the godfather of the French New Wave. The fifth chapter suggests studying the history of style as linked problems and solutions, and the approach is illustrated through a history of depth staging. The Way Hollywood Tells It can be considered an essayistic sequel to some of my sections oof The Classical Hollywood Cinema (1985).More generally, Figures Traced in Light argues that we can profitably explain a lot about film style by considering the craft context within which filmmakers work, and the last chapter defends this argument against some criticisms it has received elsewhere.

Also, in French: Nul mieux que Godard, an anthology published by Cahiers du cinéma on Godard and edited by Bergala. English-language film cultures have kept pace with French aesthetic philosophers like Jacques Rancière and Alain Badiou, but forgot to check where film analysis itself went in France after the heyday of semiotics. I’m not sure how Back to the Future artwork got dug up from the archives but it looks like there’s a ton of it in this 220-page art book.Benjamin was one of the first people to grapple with the question of how art is transformed by technology, supposedly sacrificing ‘aura’ for accessibility. I consider how we might study cinematic staging, particularly ensemble staging, and take four major directors as examples of various staging strategies. full sizeKristin Thompson and I grew concerned that film history textbooks didn’t reflect the growing scholarship in the field, particularly on early film and non-Western film. strikes just the right note of courteous provocation in its determination to reorient our view of popular cinema.

The first edition was published in 1986 and changed the way I thought about film acting and stardom. The second essay analyzes visual style and is an expansion of the essay, “Intensified Continuity,” which appeared in Film Quarterly some years ago.The books that most influence you tend to come early in one’s life – whether one likes it or not, everyone is a product of their generation. A sui generis reimagining of film history – a poetic treatise, cultural delirium and phenomenological evocation of the mysterious, multiform rapture of watching. The Dictionary is not only an indispensable book about cinema, but one of the most absurdly ambitious literary achievements of our time.