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Cinema - Concordia University Libraries Recent Acquisitions

Titles in the call number range PN 1993 - PN 1999 (Cinema) that were added to the Concordia University Libraries collection in the last 90 days.


  • Screenplays / Werner Herzog ; translated from the German by Alan Greenberg and Martje Herzog
    PN 1997.3.H4

  • Bollywood cinema : temples of desire / Vijay Mishra
    PN 1993.5 I8M46 2002eb
    India is home to Bollywood - the largest film industry in the world. Movie theaters are said to be the "temples of modern India," with Bombay producing nearly 800 films per year that are viewed by roughly 11 million people per day. In Bollywood Cinema, Vijay Mishra argues that Indian film production and reception is shaped by the desire for national community and a pan-Indian popular culture. Seeking to understand Bollywood according to its own narrative and aesthetic principles and in relation to a global film industry, he views Indian cinema through the dual methodologies of postcolonial studies and film theory. Mishra discusses classics such as Mother India (1957) and Devdas (1935) and recent films including Ram Lakhan (1989) and Khalnayak (1993), linking their form and content to broader issues of national identity, epic tradition, popular culture, history, and the implications of diaspora.

  • Dining with madmen : fat, food, and the environment in 1980s horror / Thomas Fahy
    PN 1995.9 H6F25 2019eb

  • The supermarket of the visible : toward a general economy of images / Peter Szendy ; translated by Jan Plug
    PN 1995 S96613 2019

  • Queer timing : the emergence of lesbian sexuality in early cinema / Susan Potter
    PN 1995.9 L48P68 2019eb

  • An archive of the catastrophe : the unused footage of Claude Lanzmann's Shoah / Jennifer Cazenave
    PN 1997 S4755C39 2019

  • Cinematic encounters 2 : portraits and polemics / Jonathan Rosenbaum
    PN 1994 R567 2019

  • Subject to reality : women and documentary film / Shilyh Warren
    PN 1995.9 D6W37 2019

  • Gaelic games on film : from silent films to Hollywood hurling, horror and the emergence of Irish cinema / Seán Crosson
    PN 1995.9 S67C76 2019

  • Hitchcock's People, Places, and Things John Bruns
    PN 1998.3 H58B78 2019

  • The supernatural sublime : the wondrous ineffability of the everyday in films from Mexico and Spain / Raúl Rodríguez-Hernández and Claudia Schaefer
    PN 1995.9 S8R57 2019
    The Supernatural Sublime explores the long-neglected element of the supernatural in films from Spain and Mexico by focusing on the social and cultural contexts of their production and reception, their adaptations of codes and conventions for characters and plot, and their use of cinematic techniques to create the experience of emotion without explanation. Deploying the overarching concepts of the supernatural and the sublime, Raúl Rodríguez-Hernández and Claudia Schaefer detail the dovetailing of the unnatural and the experience of limitlessness associated with the sublime.

    The Supernatural Sublime embeds the films in the social histories of twentieth- and twenty-first-century Mexico and Spain, both of which made a forced leap into modernity after historical periods founded on official ideologies and circumscribed visions of the nation. Evoking Kant's definition of the experience of the sublime, Rodríguez-Hernández and Schaefer concentrate on the unrepresentable and the contradictory that oppose purported universal truths and instead offer up illusion, deception, and imagination through cinema, itself a type of illusion: writing with light.

  • Hitchcock and the censors / John Billheimer
    PN 1998.3 H58B55 2019eb

    Throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes . They also scrubbed "excessively lustful" kissing from the screen and ensured that no criminal went unpunished.

    During their review of Hitchcock's films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca (1940), absolved Cary Grant of guilt in Suspicion (1941), edited Cole Porter's lyrics in Stage Fright (1950), decided which shades should be drawn in Rear Window (1954), and shortened the shower scene in Psycho (1960).

    In Hitchcock and the Censors, author John Billheimer traces the forces that led to the Production Code and describes Hitchcock's interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming -- and occasionally tricking -- the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock's priorities in dealing with the censors, this work highlights the director's theories of suspense as well as his magician-like touch when negotiating with code officials.


  • From El Dorado to Lost horizons : traditionalist films in the Hollywood renaissance, 1967-1972 / Ken Windrum
    PN 1993.5 U6W56 2019eb

  • Ridley Scott : a biography / Vincent LoBrutto
    PN1998.3.S393

    With celebrated works such as Alien, Blade Runner, Thelma & Louise , and Gladiator, Ridley Scott has secured his place in Hollywood. This legendary director and filmmaker has had an undeniable influence on art and the culture of filmmaking, but is also a respected media businessman.

    In Ridley Scott: A Biography , Vincent LoBrutto delves into Ridley Scott's oeuvre in a way that allows readers to understand the yin and yang of his exceptional career. Presented is a unique crosscut between the biographical facts of Ridley Scott's personal life -- his birth and early days in northeast England, his life in New York City -- and his career in Hollywood as a director and producer of television commercials, TV series, miniseries, and feature films. Every film is presented, analyzed, and probed for a greater understanding of the visionary, his personality, and his thought process, for a deeper perception of his astounding work and accomplishments. The voices of cast and crew who have worked with Ridley Scott, as well as the words of the man himself, are woven throughout this book for a fully realized, critical biography, revealing the depth of the artist and his achievements.


  • West African screen media comedy, TV series, and transnationalization / by Boukary Sawadogo
    PN1995
    The culturally rooted comic traditions of koteba theater and joking kinship have shaped West African comedies through various forms of humor. Débrouillardis e (hustle) has turned the urban scene into a comic scene, a site for individual realization. To highlight the ever-growing production and success of comedies and other popular genres, West African Screen Media: Comedy, TV Series, and Transnationalization explores the distribution and reception of selected productions by emphasizing the public's strong resonance with local stories and a character-based comedy involving popular comedians. In contrast to art films or "auteur films" that tend to be confined to the festival circuit, comedies and popular genres reach a far wider audience through local distribution networks, satellite TV channels, pirated DVDs, and online distribution platforms. This book engages a discussion of contemporary African media productions as seen outside the usual frameworks of cinéma engagé , the art house, or auteur approaches. While examining production and distribution through the lenses of proximity, appropriation, and transnationalization, this volume invites readers to reconsider the way genre films, as well as other kinds of productions, have been previously evaluated and in doing so addresses the critical neglect of comedy and other popular genres in the scholarship on African cinema.

  • Movie circuits : curatorial approaches to cinema technology / Gabriel Menotti
    PN1995.9.T43
    Movie Circuits is a book about cinema; more precisely, it is about how technological changes are negotiated within the operation of the medium, thus resulting in the preservation, obsolescence and expansion of its conventional apparatus. Based on an active effort to take distance from traditional disciplines, the author produces scholarship from the standpoint of the flusserian functionaries of the apparatus. He deploys his empirical, hands-on experience with the medium underpinnings, both as a projectionist and a curator, as a form of practice-based approach able to pierce through the veils of the scientific paradigm and medial ideology alike, in order to better comprehend the relationship between moving image and media technology. Departing from the modes of organization of cinema promoted by different cultural practices, from art making to piracy, the volume does a critical revision of current theories, putting into question the institutional character of medium ontology.

  • Women at work in twenty-first-century European cinema / Barbara Mennel
    PN 1995.9 W6M46 2019eb

  • Aesthetic spaces : the place of art in film / Brigitte Peucker
    PN 1995.25 P462 2019
    Films provide valuable spaces for aesthetic experimentation and analysis, for cinema's openness to other media has always allowed it to expand its own. In Aesthetic Spaces , Brigitte Peucker shows that when painterly or theatrical conventions are appropriated by the medium of film, the dissonant effects produced open it up to intermedial reflection and tell us a great deal about cinema itself.

    The films studied in these chapters include those by Abbas Kiarostami, Alfred Hitchcock, Michelangelo Antonioni, Jean-Luc Godard, Carl Th. Dreyer, Peter Greenaway, Rainer Werner Fassbinder, Ingmar Bergman, Jacques Rivette, Fritz Lang, F. W. Murnau, Lars von Trier, Spike Jonze, ric Rohmer, Lech Majewski, and others. Where two media are in evidence in these films, there is usually a third, and often theater mediates between film and painting. Aesthetic Spaces interrogates issues of cinematic space and mise-en-sc ne from different but interconnected theoretical perspectives, organizing its chapters around some of the formal principles--space, spectator, frame, color and lighting, props, d cor, and actor--that shape films.

    Drawing on the older arts to renew cinema, the films examined deploy paintings as material: Poussin and Bruegel, Rembrandt, Hals and Klimt, and medieval illustrations and modernist abstractions are used to expand our notions of cinematic space. Peucker shows that when different media come together in film, they create effects of dissonance out of which new modes of looking may arise.

  • The films of Douglas Sirk : exquisite ironies and magnificent obsessions / Tom Ryan
    PN 1998.3 S57R93 2019

  • Women adapting : bringing three serials of the roaring twenties to stage and screen / Bethany Wood
    PN 1997.85 W585 2019

  • When the movies mattered : the New Hollywood revisited / edited by Jonathan Kirshner and Jon Lewis
    PN 1993.5 U65W47 2019

    In When the Movies Mattered Jonathan Kirshner and Jon Lewis gather a remarkable collection of authors to revisit the unique era in American cinema that was New Hollywood. Ten eminent contributors, some of whom wrote about the New Hollywood movement as it unfolded across the 1960s and 1970s, assess the convergence of film-industry developments and momentous social and political changes that created a new type of commercial film that reflected those revolutionary influences in American life.

    Even as New Hollywood first took shape, film industry insiders and commentators alike realized its significance. At the time, Pauline Kael compared the New Hollywood to the "tangled, bitter flowering of American letters in the 1850s" and David Thomson dubbed the era "the decade when movies mattered." Thomson's words provide the impetus for this volume in which a cohort of seasoned film critics and scholars who came of age watching the movies of this era reflect upon and reconsider this golden age in American filmmaking.

    Contributors: Molly Haskell, Heather Hendershot, J. Hoberman, George Kouvaros, Phillip Lopate, Robert Pippin, David Sterritt, David Thomson


  • Star wars after Lucas : a critical guide to the future of the galaxy / Dan Golding
    PN 1995.9 S695G65 2019

    Politics, craft, and cultural nostalgia in the remaking of Star Wars for a new age

    A long time ago, in a galaxy far, far away--way back in the twenty-first century's first decade-- Star Wars seemed finished. Then in 2012 George Lucas shocked the entertainment world by selling the franchise, along with Lucasfilm, to Disney. This is the story of how, over the next five years, Star Wars went from near-certain extinction to what Wired magazine would call "the forever franchise," with more films in the works than its first four decades had produced.

    Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014-18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. At the same time he shows how Disney, even as it tapped a backward-looking obsession, was nonetheless creating genuinely new and contemporary entries in the Star Wars universe.

    A host of cultural factors and forces propelled the Disney-engineered Star Wars renaissance, and all figure in Golding's deeply informed analysis: from John Williams's music in The Force Awakens to Peter Cushing's CGI face in Rogue One , to Carrie Fisher's passing, to the rapidly changing audience demographic. Star Wars after Lucas delves into the various responses and political uses of the new Star Wars in a wider context, as in reaction videos on YouTube and hate-filled, misogynistic online rants. In its granular textual readings, broad cultural scope, and insights into the complexities of the multimedia galaxy, this book is as entertaining as it is enlightening, an apt reflection of the enduring power of the Star Wars franchise.


  • This thing of darkness : Eisenstein's Ivan the Terrible in Stalin's Russia / Joan Neuberger
    PN 1997 I77N484 2019

    Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible , was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness , Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film.

    Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan , show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible , she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.


  • Bumpy road : the making, flop, and revival of Two-lane blacktop / Sylvia Townsend
    PN 1997 T652T69 2019
    Bumpy Road: The Making, Flop, and Revival of "Two-Lane Blacktop" chronicles the genesis, production, box-office debacle, resurrection, near-canonization, and lasting influence of director Monte Hellman's 1971 existentialist car-racing movie. Hellman's unconventional choices for the film included casting three nonactors--musicians James Taylor and Dennis Wilson, as well as his girlfriend, Laurie Bird--in lead roles; shooting the movie in sequence from west to east on Route 66; and refusing to show the actors the full script, instead giving each his or her lines for the day.

    Before its release, Esquire put the film on its cover as the magazine's choice for movie of the year and printed the entire screenplay, leading moviegoers to expect a crowd-pleaser. Audiences anticipated that Two-Lane Blacktop would be an action-packed car-racing movie and were disappointed when nobody won or even finished the race, no one got the girl, the two leading men barely spoke, and the leading lady was foul-mouthed and promiscuous. Universal Studios Chairman Lew Wasserman found the film subversive and refused to release it on video.

    Years after it flopped, however, the movie soared in stature, and it is now revered by such contemporary directors as Quentin Tarantino and Richard Linklater. It was included in the National Film Registry and was released on DVD and Blu-ray by the prestigious Criterion Collection and the highly regarded Masters of Cinema series.

    Author Sylvia Townsend conducts a comprehensive examination of the film, its reception, and the resurgence of interest it has more recently generated. Interviewing individuals involved in and influenced by the film, including James Taylor, Richard Linklater, Gary Kurtz, and scriptwriter Rudy Wurlitzer, Townsend provides an inside look at the cult classic.

  • The Brighton School and the birth of British film / Frank Gray
    PN 1993.5 G7G37 2019

  • Gatekeeping in the evolving business of independent film distribution / Roderik Smits
    PN 1995.9 D57S65 2019eb

  • Crosscurrents : how film policy developed in Quebec, 1960-1983 / Constance Dilley
    PN1993.5.C2

  • Sound, Media, Ecology
    PN1993-PN1999HQ75-76

  • Screening the Author : The Literary Biopic / Hila Shachar
    PN 1997.85 S33 2019

  • The remembered film / Victor Burgin
    PN 1995 B855 2004eb
    Most books about cinema, whether popular or academic, concentrate on what we might call the "inside" of the film: from star performances to narrative structures. The relatively few books about the "outside" of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system, for example, or fan clubs. The Remembered Film is unique in addressing a previously overlooked aspect of cinema: the isolated fragments of films, iconic images or scenes, that fleetingly cross our perceptions and thoughts in the course of everyday life.

    Victor Burgin examines a kaleidoscope of film fragments drawn from a variety of media, the internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such "sequence-images", as Burgin calls them, are neither strictly "image" nor "image sequence" and have not been considered before by either film or photography theory. He also considers some typical individual experiences "sampled" from mainstream cinema. He reflects on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of a feeling "marked" by an image remembered from a film.

    The Remembered Film provides a radical new way of thinking about film outside conventional cinema, and in relation to our everyday lives. It will appeal to a wide audience interested in film and media.

  • Inhospitable world : cinema in the time of the anthropocene / Jennifer Fay
    PN 1993.5 U6F355 2018
    In recent years, environmental and human rights advocates have suggested that we have entered the first new geological epoch since the end of the ice age: the Anthropocene. In this new epoch, humans have come to reshape unwittingly both the climate and natural world; humankind has caused massextinctions of plant and animal species, polluted the oceans, and irreversibly altered the atmosphere. Ironically, our efforts to make the planet more hospitable to ourselves seem to be driving us toward our inevitable extinction. A force of nature, humanity is now decentered as the agent ofhistory. As Jennifer Fay argues, this new situation is to geological science what cinema has always been to human culture.Film, like the Anthropocene, is a product of the industrial revolution, but arises out of a desire to preserve life and master time and space. It also calls for the creation of artificial worlds, unnatural weather, and deadly environments for entertainment, scientific study, and devising militarystrategy. Filmmaking stages, quite literally, the process by which worlds and weather come into being and meaning, and it mimics the forces that are driving this new planetary inhospitality. Cinema, in other words, provides an image of "nature" in the age of its mechanical reproducability. Fayargues that cinema exemplifies the philosophical, political, and perhaps even logistical processes by which we can adapt to these forces and also imagine a world without humans in it. Whereas standard ecological criticism attends to the environmental crisis as an unraveling of our natural state,this book looks to film (from Buster Keaton, to Jia Zhangke, to films of atomic testing and early polar exploration) to consider how it reflects upon the creation and destruction of human environments. What are the implications of ecological inhospitality? What role might cinema and media theoryplay in challenging our presumed right to occupy and populate the world? As an art form, film enjoys a unique relationship to the material, elemental world it captures and produces. Through it, we may appreciate the ambitions to design an unhomely planet that may no longer accommodate us.

  • The cinema of Agnès Varda : resistance and eclecticism / Delphine Bénézet
    PN 1998.3 V368B46 2014
    Agnès Varda, a pioneer of the French New Wave, has been making radical films for over half a century. Many of these are considered by scholars, filmmakers, and audiences alike, as audacious, seminal, and unforgettable. This volume considers her production as a whole, revisiting overlooked films like Mur, Murs/Documenteur (1980-81), and connecting her cinema to recent installation work. This study demonstrates how Varda has resisted norms of representation and diktats of production. It also shows how she has elaborated a personal repertoire of images, characters, and settings, which all provide insight on their cultural and political contexts. The book thus offers new readings of this director's multifaceted rêveries, arguing that her work should be seen as an aesthetically influential and ethically-driven production where cinema is both a political and collaborative practice, and a synesthetic art form.

  • The Palgrave handbook of children's film and television / Casie Hermansson, Janet Zepernick, editors
    PN 1995.9 C45P35 2019

  • Crime scenery in postwar film and photography Henrik Gustafsson
    PN1995.9.S4

  • Non-cinema : global digital filmmaking and the multitude / William Brown
    PN 1995.9 P7B667 2018
    Non-Cinema: Global Digital Film-making and the Multitude provides an original film-philosophy through which to understand low budget digital filmmaking from around the globe. It draws upon a wide range of western and non-western philosophers, physicists, theorists of 'Third Cinema,' and contemporary film theorists and film-philosophers in order to argue that the future of cinema lies at the margins, in the extreme, the overlooked and the under-funded - the sort that distributors, exhibitors and audiences would not consider to be cinema at all, hence "non-cinema." Analysing numerous films, William Brown argues that contemporary low-budget digital cinema is also through its digital form a political cinema that suggests that we are not detached observers of the world, but entangled participants therewith. Non-Cinema constructs this argument by looking at work by established filmmakers like Jean-Luc Godard, Abbas Kiarostami, Jafar Panahi and Michael Winterbottom, as well as lesser known work from places as diverse as Asia, the Middle East, Europe, the Americas and Africa.

  • Spectacular bodies : gender, genre, and the action cinema / Yvonne Tasker
    PN 1995.9 S697T37 1993eb
    While films such as Rambo, Thelma and Louise and Basic Instinct have operated as major points of cultural reference in recent years, popular action cinema remains neglected within contemporary film criticism.
    Spectacular Bodies unravels the complexities and pleasures of a genre often dismissed as `obvious' in both its pleasure and its politics, arguing that these controversial films should be analysed and understood within a cinematic as well as a political context.
    Yvonne Tasker argues that today's action cinema not only responds to the shifts in gendered, sexual and racial identities which took place during the 1980s, but reflects the influences of other media such as the new video culture. Her detailed discussion of the homoeroticism surrounding the muscleman hero, the symbolic centrality of blackness within the crime narrative, and the changing status of women within the genre, addresses the constitution of these identities through the shifting categories of gender, class, race, sex, sexuality and nation. Spectacular Bodies also examines the ambivalence of supposedly secure categories of popular cinema, questioning the existing terms of film criticism in this area and addressing the complex pleasures of this neglected form.

  • The women who knew too much : Hitchcock and feminist theory / Tania Modleski
    PN 1998.3 H58M64 2016eb

    Originally published in 1988, The Women Who Knew Too Much remains a classic work in film theory and feminist criticism. The book consists of a theoretical introduction and analyses of seven important films by Alfred Hitchcock, each of which provides a basis for an analysis of the female spectator as well as of the male spectator. Modleski considers the emotional and psychic investments of men and women in female characters whose stories often undermine the mastery of the cinematic "master of suspense." The third edition features an interview with the author by David Greven, in which he and Modleski reflect on how feminist and queer approaches to Hitchcock studies may be brought into dialogue. A teaching guide and discussion questions by Ned Schantz help instructors and students to delve into this seminal work of feminist film theory.


  • Vertigo / edited by Katalin Makkai
    PN 1997 V479V47 2013eb

    Released in 1958, Vertigo is widely regarded as Alfred Hitchcock's masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo . Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock's filmfrom a philosophical perspective. Topics discussed include:

    memory, loss, memorialisation, and creativity mimetic or representational art and art as magic the nature of romantic love gender, sexual objectification, and identity looking, "the gaze", and voyeurism film and psychoanalysis fantasy, illusion, and reality the phenomenology of colour.

    Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo, and an ideal resource for students of film and philosophy.

    rther reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo, and an ideal resource for students of film and philosophy.

  • Raindance producers' lab : lo-to-no budget filmmaking / Elliot Grove
    PN1995.9.P7

    Discover vital insider tips on producing movies with a micro budget!

    Covering both tried and true filmmaking techniques as well as insight on marketing, selling, and distributing your film,  Raindance Producers' Lab, Second Edition  is the ultimate independent filmmaker's guide to producing movies. This edition has been updated to include:

    Fresh features on low-budget, high quality video cameras, including new digital camera options such as DSLR An extensive selection of new case studies and interviews with industry talents such as Ewan McGregor, Ate de Jong, James Youngs, Joe Pavlo, Martin Myers, Rolin Heap, and more Essential advice on how to make the web work for you and promote your films through Twitter, Facebook and other social media platforms All new postproduction workflows A companion website (www.lotonobudgetfilmmaking.com) providing all the contracts and material you need to run a production company and make successful low budget movies

    The verdict is in: if you're looking for a clear-cut, no-nonsense approach to micro-budget filmmaking and producing, Elliot Grove's wealth of teaching and filmmaking experience combined with winning formulas for marketing and promotion make this book a must-have one-stop shop for filmmakers!

    A companion website (www.lotonobudgetfilmmaking.com) providing all the contracts and material you need to run a production company and make successful low budget movies

    The verdict is in: if you're looking for a clear-cut, no-nonsense approach to micro-budget filmmaking and producing, Elliot Grove's wealth of teaching and filmmaking experience combined with winning formulas for marketing and promotion make this book a must-have one-stop shop for filmmakers!


  • Ideas for the animated short : finding and building stories / Karen Sullivan [and others]
    PN 1997.5 I34 2013eb

    Follow from start to finish the creation of an animated short from the pre-production thought process to story development and character design. Explore the best practices and avoid the common pitfalls of creating two to five minute shorts. Watch a specially created animated short, demonstrating the core techniques and principles at the companion website! Packed with illustrated examples of idea generation, character and story development, acting, dialogue and storyboarding practice this is your conceptual toolkit proven to meet the challenges of this unique art form. The companion website includes in-depth interviews with industry insiders, 18 short animations (many with accompanying animatics, character designs and environment designs) and an acting workshop to get your animated short off to a flying start! With all NEW content on script writing, acting, sound design and visual storytelling as well as stereoscopic 3D storytelling, further enhance your animated shorts and apply the industry best practices to your own projects and workflows.


  • Professional storyboarding : rules of thumb / Sergio Paez and Anson Jew
    PN 1995.9 P7P25 2013

    Storyboarding is a very tough business, and a new storyboarder really needs to have their wits about them and have professional savvy to survive in this competitive field. Storyboarding: Rules of Thumb offers highly illustrative examples of basic storyboarding concepts, as well as sound, career-oriented advice for the new artist. This book also features a number of veteran storyboard artists sharing their experiences in the professional world.


  • Alternative scriptwriting : beyond the Hollywood formula / Ken Dancyger, Jeff Rush
    PN 1996 D36 2013eb

    Learn the rules of scriptwriting, and then how to successfully break them.Unlike other screenwriting books, this unique guide pushes you to challenge yourself and break free of tired, formulaic writing--bending or breaking the rules of storytelling as we know them. Like the best-selling previous editions, seasoned authors Dancyger and Rush explore alternative approaches to the traditional three-act story structure, going beyond teaching you "how to tell a story" by teaching you how to write against conventional formulas to produce original, exciting material. The pages are filled with an international range of contemporary and classic cinema examples to inspire and instruct. New to this edition. New chapter on the newly popular genres of feature documentary, long-form television serials, non-linear stories, satire, fable, and docudrama.

    New chapter on multiple-threaded long form, serial television scripts. New chapter on genre and a new chapter on how genre's very form is flexible to a narrative. New chapter on character development.
    New case studies, including an in-depth case study of the dark side of the fable, focusing on The Wizard of Oz and Pan's Labyrinth.


  • Directing : film techniques and aesthetics / Michael Rabiger, Mick Hurbis-Cherrier ; illustrated by Gustavo Mercado
    PN 1995.9 P7R26 2013eb

    This comprehensive manual has inspired tens of thousands of readers worldwide to realize their artistic vision and produce well-constructed films. Filled with practical advice on every stage of production, this is the book you will return to throughout your career. 

    Directing covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film. The core of the book is the human, psychological, and technical knowledge that every director needs, the enduring elements of the craft that remain vital.

    Directing also provides an unusually clear view of the artistic process, particularly in working with actors and principle crew to achieve personally expressive storytelling and professionalism on any budget.

    Directing explores in detailed and applicable terms how to engage with the conceptual and authorial sides of filmmaking. Its eminently practical tools and exercises show how to: discover your artistic identity; develop credible and compelling stories with your cast and crew; and become a storyteller with a distinctive voice and style.

    The companion website includes teaching notes, dozens of practical hands-on projects and film study activities to help you master technical and conceptual skills, film analysis questionnaires, and all the essential production forms and logs.

    New to the fifth edition

    * Virtually every chapter has been revised, updated, and re-organized for a streamlined and integrated approach.

    * Expanded sections on the basics of drama, including thorough analyses of recent films

    * Discussions of the director's approach to script analysis and development

    * New discussion exploring the elements of naturalistic and stylistic aesthetic approaches.

    * New discussion on the narrative power of lighting and the lens - including many recent film examples for shot size, perspective, focus and exposure

    * Greater emphasis on the implications of composition, mise-en-scène, continuity shooting and editing, long take shooting, point-of-view sequences, and camera handling

    * Expanded discussion of collaboration between the director and principle creative crew

    * Updated coverage of workflow and comparative advantages to digital or film acquisition

    * New section on film production safety, set protocol and etiquette


  • Hand held Hollywood's filmmaking with the iPad & iPhone / Taz Goldstein
    PN 1995.9 P7G65 2013

  • The Screenwriter's Roadmap : 21 Ways to Jumpstart Your Story
    PN 1996 L25 2013

    Finally, a GPS system for screenwriters!

    The potentially long and arduous journey of writing a screenplay was just made easier to navigate with The Screenwriter's Roadmap. Avoid the wrong turns, dead ends, gaping p(l)otholes, and other obstacles that result in frustration , wasted time, and wasted energy. The Screenwriter's Roadmap keeps you on track and helps you reach your destination- a finished, professional quality screenplay.

    Neil Landau, a successful Hollywood screenwriter and script doctor with over 2 decades of experience, provides you with 21 Guideposts, that if implemented, will help you nail down your screenplay's story structure, deepen its character arcs, bolster stakes, heighten suspense, and diagnose and repair its potential weaknesses. These Guideposts are based on field-tested, in-the-trenches experiences that have been proven to work.

    The Guideposts are augmented by interactive exercises, end of chapter "homework" assignments, examples from the latest blockbusters, as well as over 20 interviews with some of Hollywood's most successful screenwriters and directors, including David S. Goyer (Batman Begins, The Dark Knight, The Dark Knight Rises, Man of Steel), David Koepp (Jurassic Park, Mission: Impossible, Spider-Man, Panic Room, War of the Worlds, Angels & Demons), Melissa Rosenberg (The Twilight Saga: Twilight, The Twilight Saga: New Moon, The Twilight Saga: Eclipse, The Twilight Saga: Breaking Dawn - Part 1, The Twilight Saga: Breaking Dawn - Part 2, Dexter (TV)), and Eric Roth (Forrest Gump, The Insider, Munich, The Good Shepherd, The Curious Case of Benjamin Button, Extremely Loud and Incredibly Close).

    .


  • Raindance writers' lab : write + sell the hot screenplay / Elliot Grove
    PN 1996 G76 2009
    If you're looking for a straightforward, practical, no-nonsense guide to scriptwriting that will hold your hand right the way through the process, read on! The Raindance Writers' Lab guides you through the tools that enable you to execute a strong treatment for a feature and be well on the way to the first draft of your script. Written by the creator of the Raindance Film Festival himself, Elliot Groveuses a hands-on approach to screenwriting based on his many years of experience teaching the subject for Raindance training. He uses step-by-step processes illustrated with diagrams and charts to lend a visual structure to the teaching. Techniques are related to real-life examples throughout, from low budget to blockbuster films. The Companion Website contains interviews with British writers and directors as well as a handy series of legal contracts, video clips and writing exercises. In this brand new 2nd edition, Grove expands on his story structure theory, as well as how to write for the internet and short films. The website also contains sample scripts and legal contracts, a writing exercise illustrated with a video clip, a folder full of useful hyperlinks for research, and a demo version of Final Draft screenwriting software.LF"> In this brand new 2nd edition, Grove expands on his story structure theory, as well as how to write for the internet and short films. The website also contains sample scripts and legal contracts, a writing exercise illustrated with a video clip, a folder full of useful hyperlinks for research, and a demo version of Final Draft screenwriting software.

  • The filmmaker's book of the dead : how to make your own heart-racing horror movie / Danny Draven
    PN 1995.9 H6D73 2010

    Produce, direct and promote your own chilling horror film with real-world advice from award-winning, independent producer/director Danny Draven!

    From the history of horror and the technique of the scare to pre-production and distribution, this complete, full-color guide to horror filmmaking uncovers all the insider secrets for creating your own successful movie. Sharing his personal filmmaking experience, Draven reveals how to create a spine-tingling horror film from start to finish. You'll not only discover how to craft the story, but also how to master using production techniques, music, lighting and editing to thrill audiences. Straight-from-the-set tips will help you avoid common filmmaking pitfalls, and extensive information on marketing and distribution will show you how to get your film out to the public.

    Plus, learn from groundbreaking horror legends including:
    *Lloyd Kaufman, Toxic Avenger
    *Robert Kurtzman, From Dusk till Dawn
    *James Wan, Saw
    *Robert Englund, Freddy Krueger from the Nightmare of Elm Street films
    *Stuart Gordon, Re-Animator
    *Tom Savini, Night of the Living Dead
    *"Godfather of Gore" Herschell Gordon Lewis
    *Charles Band, Trancers
    *David DeCoteau, Puppet Master 3
    *John D. LeMay, Friday the 13th: The Series
    *Debbie Rochon, Tromeo & Juliet
    *Reggie Bannister, Phantasm
    *and many more.

    Find even more hands-on horror advice and over an hour of video extras on the companion web site!

    Featuring:
    *Behind-the-scenes footage from Ghost Month, Cryptz, Darkwalker and Deathbed
    *A collection of independent horror film trailers
    *Sample scripts, schedules and agreements
    *Classic behind-the-scenes footage from Puppetmaster, Blood Dolls, Dead Hate the Living and more courtesy of Full Moon Features
    *Listing of horror film festivals and distributors

    Whether you're a first-time filmmaker or an old pro, Danny Draven's book will likely show you scenarios to rattle your indie filmmaking bones or cause you to chuckle. No matter what your background, if you're a lover of the horror genre, or a maker of independent films, you should pick up this book. - Film Monthly


  • The makeup artist handbook : techniques for film, television, photography, and theatre / Gretchen Davis and Mindy Hall
    PN 1995.9 M25D38 2008
    This full-color and amply illustrated book is written for film, television, and theatre makeup artists who need to know the basics on how to accomplish flawless makeup applications. It begins with fundamental practices and continues through more complex techniques usually known only by Hollywood makeup artists. Written by two expert authors who have experience doing makeup for television, commmercials, and blockbuster films, readers will learn about beauty, time periods, black and white film, as well as cutting edge techniques such as air brusshing makeup for computer-generated movies, and makeup effects. High definition (HD) technology has revolutionized the techniques needed by makeup artists--you need to know more, have more talent, and be more detailed than ever before. Because HD emphasizes every detail on screen, it's essential for makeup artists to know how to achieve a desired "look" that fits the director's requirements. This book will help professional and aspiring makeup artists to hone their craft in both conventional and HD techniques.

  • Documentary storytelling : making stronger and more dramatic nonfiction films / Sheila Curran Bernard
    PN 1995.9 D6B394 2007
    Documentary Storytelling offers a unique in-depth look at story and structure as applied not to Hollywood fiction, but to films and videos based on factual material and the drama of real life. With the growing popularity of documentaries in today's global media marketplace, demand for powerful and memorable storytelling has never been greater. This practical guide offers advice for every stage of production, from research and proposal writing to shooting and editing, and applies it to diverse subjects and film styles, from vérité and personal narrative to archival histories and more. Filled with real-world examples drawn from the author's career and the experiences of some of today's top documentarians, Documentary Storytelling includes special interview chapters with Ric Burns, Jon Else, Nick Fraser, Susan Froemke, Sam Pollard, Onyekachi Wambu and other film professionals. This second edition has been brought up to date with a more international focus, a look at lower-budget independent filmmaking, and consideration of newer films including Super Size Me, Murderball, So Much So Fast, and When the Levees Broke.er-budget independent filmmaking, and consideration of newer films including Super Size Me, Murderball, So Much So Fast, and When the Levees Broke.

  • Archival storytelling : a filmmaker's guide to finding, using, and licensing third-party visuals and music / Sheila Curran Bernard, Kenn Rabin
    PN 1995.9 D6B393 2009

    Archival Storytellingis an essential, pragmatic guide to one of the most challenging issues facing filmmakers today: the use of images and music that belong to someone else. Where do producers go for affordable stills and footage? How do filmmakers evaluate the historical value of archival materials? What do verite'' producers need to know when documenting a world filled with rights-protected images and sounds? How do filmmakers protect their own creative efforts from infringement?

    Filled with advice and insight from filmmakers, archivists, film researchers, music supervisors, intellectual property experts, insurance executives and others, Archival Storytelling defines key terms-copyright, fair use, public domain, orphan works and more-and challenges filmmakers to become not only archival users but also archival and copyright activists, ensuring their ongoing ability as creators to draw on the cultural materials that surround them.

    Features conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others.

    Additional praise for Archival Storytelling:
    "I''ve been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Homeand Into the Arms of Strangers

    "One of the best-and most needed-[bookses conversations with industry leaders including Patricia Aufderheide, Hubert Best, Peter Jaszi, Jan Krawitz, Lawrence Lessig, Stanley Nelson, Rick Prelinger, Geoffrey C. Ward and many others.

    Additional praise for Archival Storytelling:
    "I''ve been making historical documentaries for many years, yet I learned new things from this book. This is the definitive guide for archival research for documentary filmmakers. An invaluable resource." -Mark Jonathan Harris, Distinguished Professor, School of Cinematic Arts, University of Southern California, and writer/director, The Long Way Homeand Into the Arms of Strangers

    "One of the best-and most needed-[books] I have seen in a while..The challenge is to keep what is a fairly technical aspect of filmmaking interesting without compromising the quality and depth of information. The authors have done an exceptional job in this regard by the careful interweaving of interviews with researchers, filmmakers and legal experts through the factual material.There is the strong sense of being in the presence of experienced filmmakers and researchers who accept that while there are standard practices, archival use and intellectual property laws etc. are contingent fields in which each case must be assessed and dealt with on its merits." -Bruce Sheridan, Chair, Film & Video Department, Columbia College

    "It''s hard to imagine a more organized, comprehensive dissection of Byzantine material. The authors have produced a tremendous guide for all who use archival resources. Best of all, because of their effort, I believe more individuals will be able to access and properly utilize such material. This book will serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology

    "Not simply a ''how-to'' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films

    "The book properly advances the notion that ''films matter,'' but this is countered by discussants with ''films cost money too.'' Filmmakers may take decades to recoup, and licensing helps. It''s an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer''s shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College

    serve filmmakers and, in turn, the public for years to come." -Thomas Speicher, Producer, Pennsylvania College of Technology

    "Not simply a ''how-to'' manual, it is also a discussion of ideas, issues and history that creates an enjoyable text even when the subject matter becomes complicated.The real world examples, the roundtable discussions, and the exploration of ideas and issues surrounding the technical aspects are very welcome and well done." -Dustin Ogdin, Filmmaker, Spoke Digital Films

    "The book properly advances the notion that ''films matter,'' but this is countered by discussants with ''films cost money too.'' Filmmakers may take decades to recoup, and licensing helps. It''s an ongoing volley, the chapter engenders a road map through the split, the tension makes a good read...This authorative book belongs on every producer''s shelf." -Loren S. Miller, Freelance Documentary and Dramatic Editor, Emerson College


  • Running the show : the essential guide to being a first assistant director / Liz Gill
    PN 1995.9 P7G442 2012eb

    Whether it's a crew of two hundred shooting a cast of thousands on horseback, or a crew of twelve filming one person in a room, each and every successful movie production requires a strong First Assistant Director (AD) at its helm. In Running the Show, veteran First AD Liz Gill walks you through the entire filmmaking process through the perspective of the First AD, from pre-production, shoot, wrap, and all in between. This essential guide is the only book that gives you the first hand knowledge to become a successful first assistant director


  • Celtx, open source screenwriting : beginner's guide
    PN 1996 R63 2011
    This is a beginner's guide - a hand-holding fun ride with step-by-step instructions and illustrative screenshots.If you want to write a professional script or screenplay using the open source tool Celtx, this book is for you. You need not have any previous knowledge of Celtx or any other writing software.

  • The screenwriter's compass : character as true North / Guy Gallo
    PN 1996 G32 2012

    Ever watch a movie, and despite great production value, fantastic action sequences, a great cast, etc, you come away thinking-I just didn't buy it. Chances are it was because you didn't care about the characters. Screenwriter's Compasspresents a new way of approaching screenwriting, examining how effective screen storytelling must be grounded in the vivid imagining and presentation of character.

    Screenwriter's Compasswill not offer formulas to follow but instead will give you the tools needed to chart your own path to screenwriting success. It details useful ways of thinking about writing, as well as practical ideas and concepts to help you discover the unique geography of your own imagination and navigate the problems posed by the struggle to express vision, agenda, and story. You'll learn how to root your writing in motivation and voice, to create screenplays that seduce and make your reader lean forward, and, most importantly, identify with your characters.

    tify with your characters.

  • The makeup artist handbook : techniques for film, television, photography, and theatre / Gretchen Davis and Mindy Hall
    PN 1995.9 M25D38 2012

    Get professional techniques usually known only by Hollywood makeup artists in this full-color, comprehensive book from accomplished makeup pros Gretchen Davis and Mindy Hall. The two come to you with impressive backgrounds in film and television industries--their projects have included Pearl Harbor, Rent, Stuart Little, and The Nanny Diaries, and Mindy Hall is fresh off her Academy Award win for her work on 2009's Star Trek. This new edition of The Makeup Artist Handbook offers even more illustrations to demonstrate techniques visually; fundamentals on topics such as beauty, time periods, black and white film; and up-to-date information on cutting-edge techniques like air brushing makeup for computer-generated movies, makeup effects, mold-making, lighting, and lots of information on how to work effectively in HD.

    Learn from the pros and hone your craft with this comprehensive book.


  • The insider's guide to independent film distribution / Stacey Parks
    PN 1995.9 M29P37 2012

    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. In addition, you'll hear some success stories from producers and hear exactly what buyers are seeking.

    Stacey Parks has worked with hundreds of hungry filmmakers to get their films a distribution deal and knows how frustrating the whole process can be. Let her show 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 resources 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
    . Website features sample distribution agreements, budgets, and more!

    New to this edition:
    . Completely updated for modern distribution practices (broadcast, DVD, VOD, and other kinds of distribution deals)
    . New coverage on crowd-funding, social media, film marketing, and deal memos
    . Get the best inside distribution secrets from brand new interviews with an international cast of directors, producers, and distribution experts who share their experiences
    . Companion website features helpful downloadable forms and templates, sample distribution memos, and a great resource section


  • Scheduling and budgeting your film : a panic-free guide / Paula Landry
    PN 1993.5 A1L36 2012eb

    Scheduling and Budgeting Your Film: A Panic-Free Guideexplains the fundamentals of line producing in an easy-to-understand style, and the tips and techniques apply no matter what kind of scheduling or budgeting software you use. Author Paula Landry includes full examples of breakdown forms, organizing resources, distribution expenses, and hidden costs, and discusses how to set priorities and find industry and state tax incentives.


  • Voice & vision : a creative approach to narrative film and DV production / Mick Hurbis-Cherrier
    PN 1995.9 P7H79 2012eb
    Voice & Visionis a comprehensive manual for the independent filmmakers and film students who want a solid grounding in the tools, techniques, and processes of narrative film in order to achieve their artistic vision. This book includes essential and detailed information on relevant film and digital video tools, a thorough overview of the filmmaking stages, and the aesthetic considerations for telling a visual story. The ultimate goal of this book is to help you develop your creative voice while acquiring the solid practical skills and confidence to use it. Unlike many books that privilege raw technical information or the line-producing aspects of production, Voice & Vision places creativity, visual expression, and cinematic ideas front and center. After all, every practical decision a filmmaker makes, like choosing a location, an actor, a film stock, a focal length, a lighting set-up, an edit point, or a sound effect is also an expressive one and should serve the filmmaker's vision. Every decision, from the largest conceptual choices to the smallest practical solutions, has a profound impact on what appears on the screen and how it moves an audience. "In Practice" sidebars throughout connect conceptual, aesthetic and technical issues to their application in the real world. Some provide a brief analysis of a scene or technique from easily rentable films which illustrate how a specific technology or process is used to support a conceptual, narrative, or aesthetic choice. Others recount common production challenges encountered on real student and professional shoots which will inspire you to be innovative and resourceful when you are solving your own filmmaking challenges.

  • Directors tell the story : master the craft of television and film directing / Bethany Rooney, Mary Lou Belli
    PN 1995.9 P7R66 2011

    Move over, movies: the freshest storytelling today is on television, where the multi-episodic format is used for rich character development and innovative story arcs. Directors Tell the Story offers rare insight and advice straight from two A-list television directors whose credits include Monk, Grey's Anatomy, Desperate Housewives, Weeds,and more. They direct dramas and comedies using the same process that Steven Spielberg (or any other movie director uses)-just with less money and time.

    Learn what it takes to become a director: master the technical aspects, appreciate aesthetic qualities, and practice leadership, all while exuding that "X" factor that distinguishes the excellent director from the merely good one. Covering everything from prep, the shoot, and post, the authors emphasize how aspiring directors can develop a creative vision-because without it, they are just technicians.

    Hands-on and practical, this book lets you not only read about the secrets of directors, it also includes exercises using original scripted material. The companion web site includes scenes from the authors' own TV shows, along with the scripts, shot lists, and other materials that made the scenes possible.

    Key Features
    * Highly experienced Hollywood directors share inside information about what it really takes to be a director, giving the advice that readers covet.
    * Covers everything a director needs to know: the creative vision, how to translate script into a visual story, establishing the look and feel, selecting and leading a crew, coaching actors, keeping a complex operation on time and on budget, overseeing the edit, and troubleshooting through the whole shoot.
    * "Insider Info" sections feature interviews, advice, and tips from film and TV luminaries whose productions include Private Practice, Monk, Brothers & Sisters, Desperate Housewives, The Informant, American Beauty, and more!
    * Hands-on exercises help you understand and master the craft of directing.


  • Sell your own damn movie! / Lloyd Kaufman ; with Sara Antill
    PN 1995.9 M29K58 2011

    Foreword by Stan Lee!

    This is the 3rdvolume in Mr. Kaufman''s hilarious, how-to series for hard-working self-starters and hard-laughing, cheeky filmmakers. "Sell Your Own Damn Movie!" covers everything you need to do to get your finished film seen by festival-goers, movie-goers, DVD-buyers and web-goers around the world. You will be lead through a primer on the history of film distribution to a discussion of the many ways you can get your film out there, either through a reputable distributor or all on your own. From the realities of distribution, to utilizing the internet to self-distribution, Mr. Kaufman tells you in his habitually lucid and off-the-wall way. Inserts include interviews and pointers from veteran distribution pros as well as directors and producers who share their own front-line stories. Mr. Kaufman recounts his own raucous stories of marketing pleasures and nightmares from 35 years of movie-making experience, creating a uniquely useful and entertaining read.

    Or, in Lloyd''s inimitable words.

    The most asked question at my worldwide popular, legendary, renowned master class is, "How do I get my no-budget, zombie giraffe flick distributed?" Well, have no fear, because the 3rd volume in Uncle Lloydie''s how-to series of go-to guides for filmmakers reveals the secrets, methods and tricks (short of prostituting yourself and selling bodily organs) to getting your film distributed. With Troma, our legendary 35-year-old independent studio, Michael Herz and I have developed a low cost, high-impact method for low-budget film distribution, which has lead to a high-profile brand name and a catalog of over 800 titles! Now you can learn to get you movie out there, too. I will be your busty tour guide, sharing with you my hard-earned cinematic distribution know-how!

    -LEARN! How I achieved box office success with my fowl chicken zombie masterpiece Poultrygeist, and everyone''s favorite super-human hero from New Jersey, the Toxic Avenger, for practically no money!

    -SMELL! The sewer that is mainstream distribution as I drag you through the muck, be-farting upon you the real scoop behind "indie" and mainstream distribution deals.

    -MASTICATE! (No, not that kind of masticating) On the knowledge of DVD distribution as I es-chew the fat and get to the skinny of Do-It-Yourself DVD distribution. I will teach you the fundamentals of having a good website (like www.Troma.com) to boost your sales!

    -FEAST! On my golden brown chicken puns as I cleverly cluck your brain out with the irrefutable knowledge of how I sold over 10,000 units of the 3-disc limited-edition PoultrygeistDVD in a matter of months!

    YES! If you have any doubt that I will not be able turn your no-budget zombie giraffe opus into box-office gold, then put down this book proposal! No wait, pick it back up, pick it back up! This is a recession damnit, Troma needs all the money we can, er... I need to educate you filmmakers looking for distribution gold (brown)! After reading my book, any damn filmmaker will be able to "Sell Your Own Damn Movie!"

    Featuring expert advice from those who have successfully sold their films:
    * David Cronenberg (Director of The Fly, Crash, A History of Violence)
    * Oren Peli (Director/Producer of Paranormal Activity)
    * Ted Hope (Producer of Crouching Tiger, Hidden Dragon, In the Bedroom, Happiness)
    * Brad Kembel (Executive Vice President of International Distribution at Summit Films; Twilight)
    * James Gunn (Writer/Director of Super, Dawn of the Dead, Slither)
    * Jonathan Wolf (Executive Vice President, Independent Film and Television Alliance and Managing Director, American Film Market)
    ... and many more who have sold their own damn movies!


    , creating a uniquely useful and entertaining read.

    Or, in Lloyd''s inimitable words.

    The most asked question at my worldwide popular, legendary, renowned master class is, "How do I get my no-budget, zombie giraffe flick distributed?" Well, have no fear, because the 3rd volume in Uncle Lloydie''s how-to series of go-to guides for filmmakers reveals the secrets, methods and tricks (short of prostituting yourself and selling bodily organs) to getting your film distributed. With Troma, our legendary 35-year-old independent studio, Michael Herz and I have developed a low cost, high-impact method for low-budget film distribution, which has lead to a high-profile brand name and a catalog of over 800 titles! Now you can learn to get you movie out there, too. I will be your busty tour guide, sharing with you my hard-earned cinematic distribution know-how!

    -LEARN! How I achieved box office success with my fowl chicken zombie masterpiece Poultrygeist, and everyone''s favorite super-human hero from New Jersey, the Toxic Avenger, for practically no money!

    -SMELL! The sewer that is mainstream distribution as I drag you through the muck, be-farting upon you the real scoop behind "indie" and mainstream distribution deals.

    -MASTICATE! (No, not that kind of masticating) On the knowledge of DVD distribution as I es-chew the fat and get to the skinny of Do-It-Yourself DVD distribution. I will teach you the fundamentals of having a good website (like www.Troma.com) to boost your sales!

    -FEAST! On my golden brown chicken puns as I cleverly cluck your brain out with the irrefutable knowledge of how I sold over 10,000 units of the 3-disc limited-edition PoultrygeistDVD in a matter of months!

    YES! If you have any doubt that I will not be able turn your no-budget zombie giraffe opus into box-office gold, then put down this book proposal! No wait, pick it back up, pick it back up! This is a recession damnit, Troma needs all the money we can, er... I need to educate you filmmakers looking for distribution gold (brown)! After reading my book, any damn filmmaker will be able to "Sell Your Own Damn Movie!"

    Featuring expert advice from those who have successfully sold their films:
    * David Cronenberg (Director of The Fly, Crash, A History of Violence)
    * Oren Peli (Director/Producer of Paranormal Activity)
    * Ted Hope (Producer of Crouching Tiger, Hidden Dragon, In the Bedroom, Happiness)
    * Brad Kembel (Executive Vice President of International Distribution at Summit Films; Twilight)
    * James Gunn (Writer/Director of Super, Dawn of the Dead, Slither)
    * Jonathan Wolf (Executive Vice President, Independent Film and Television Alliance and Managing Director, American Film Market)
    ... and many more who have sold their own damn movies!


    and everyone''s favorite super-human hero from New Jersey, the Toxic Avenger, for practically no money!

    -SMELL! The sewer that is mainstream distribution as I drag you through the muck, be-farting upon you the real scoop behind "indie" and mainstream distribution deals.

    -MASTICATE! (No, not that kind of masticating) On the knowledge of DVD distribution as I es-chew the fat and get to the skinny of Do-It-Yourself DVD distribution. I will teach you the fundamentals of having a good website (like www.Troma.com) to boost your sales!

    -FEAST! On my golden brown chicken puns as I cleverly cluck your brain out with the irrefutable knowledge of how I sold over 10,000 units of the 3-disc limited-edition PoultrygeistDVD in a matter of months!

    YES! If you have any doubt that I will not be able turn your no-budget zombie giraffe opus into box-office gold, then put down this book proposal! No wait, pick it back up, pick it back up! This is a recession damnit, Troma needs all the money we can, er... I need to educate you filmmakers looking for distribution gold (brown)! After reading my book, any damn filmmaker will be able to "Sell Your Own Damn Movie!"

    Featuring expert advice from those who have successfully sold their films:
    * David Cronenberg (Director of The Fly, Crash, A History of Violence)
    * Oren Peli (Director/Producer of Paranormal Activity)
    * Ted Hope (Producer of Crouching Tiger, Hidden Dragon, In the Bedroom, Happiness)
    * Brad Kembel (Executive Vice President of International Distribution at Summit Films; Twilight)
    * James Gunn (Writer/Director of Super, Dawn of the Dead, Slither)
    * Jonathan Wolf (Executive Vice President, Independent Film and Television Alliance and Managing Director, American Film Market)
    ... and many more who have sold their own damn movies!


    it back up! This is a recession damnit, Troma needs all the money we can, er... I need to educate you filmmakers looking for distribution gold (brown)! After reading my book, any damn filmmaker will be able to "Sell Your Own Damn Movie!"

    Featuring expert advice from those who have successfully sold their films:
    * David Cronenberg (Director of The Fly, Crash, A History of Violence)
    * Oren Peli (Director/Producer of Paranormal Activity)
    * Ted Hope (Producer of Crouching Tiger, Hidden Dragon, In the Bedroom, Happiness)
    * Brad Kembel (Executive Vice President of International Distribution at Summit Films; Twilight)
    * James Gunn (Writer/Director of Super, Dawn of the Dead, Slither)
    * Jonathan Wolf (Executive Vice President, Independent Film and Television Alliance and Managing Director, American Film Market)
    ... and many more who have sold their own damn movies!


    erican Film Market)
    ... and many more who have sold their own damn movies!



  • The filmmaker's eye : learning (and breaking) the rules of cinematic composition / Gustavo Mercado
    PN 1995 M47 2011
    This is the only book that combines conceptual and practical instruction on creating polished and eloquent images for film and video with the technical know-how to achieve them.

    Loaded with hundreds of full-color examples, The Filmmaker's Eyeis a focused, easy-to-reference guide that shows you how to become a strong visual storyteller through smart, effective choices for your shots. This book has struck a chord worldwide and is being translated into several languages

    After a short introduction to basic principles, a variety of shots are deconstructed in the following format:

    - Why It Works: an introduction to a particular type of shot
    - How It Works: callouts point out exactly how the shot works the way it does--the visual rules and technical aspects in action
    - Technical Considerations: the equipment and techniques needed to get the shot.
    - Breaking the Rules: examples where the "rules" are brilliant subverted" are brilliant subverted

  • Shoot on location : the logistics of filming on location, whatever your budget or experience / Kathy M. McCurdy
    PN 1995.9 P7M37 2011eb
    You have a strong vision for how your movie should look, but how do you find the perfect spot to shoot and how do you organize the complex logistics of such a shoot once you find that perfect location? In this comprehensive guide, industry veteran Kathy M. McCurdy provides everything you need to know to get out on location-from how to break down the script, public relations tips for successful location scouting, negotiating with property owners, permitting on public property, how to handle complaints, and even where to put the very unattractive port-a-potties. It also includes samples of all the different forms and contracts you'll need and breaks down everything from where to park the trucks to when you need police on the set. Filled with real-life examples and actual filming situations, Shoot on Location provides everything you need to know from scouting through the wrap. Delivers the universal step-by-step process for managing location shoots using industry standard guidelines and real-life examples from actual filming situations. Includes samples of all of the legal forms and contract necessary for shooting off the lot and covers everything from script breakdown, negotiation with property owners, and even where to put the porta-potties. Loaded with real tips and how-to's for every level of scouting, shooting, and wrapping-up.

  • Pre-production planning for video, film, and multimedia / Steve R. Cartwright
    PN 1995.9 P7C33 1996eb
    The key to a project's ultimate success is good planning. This unique new book shows how to prepare for the myriad of steps required to execute production and post production of a video, film or multimedia project. Cartwright explains in detail how to save money and time in production and post-production, yet produce a quality program with high production values. The craft of production planning is explained through a comprehensive system. The production steps are all there, enhanced with graphs of the production process, production forms, photos and a comprehensive list of production resources along with a chapter devoted to the use of computers for the production and post-production process. The techniques of planning for success are easily applied to both traditional linear program development to interactive multimedia development for all types of programs, including communications, training, marketing, corporate news and teleconferencing. Pre-Production Planning for Video, Film and Multimedia also includes 30 planning, production and post-production forms that can be accessed on an accompanying complimentary disk (for both IBM compatibles or Mac). Steve R. Cartwright is president of Cartwright & Associates, a training and communications company, and co-owner of the Motion Graphics Company, a computer graphics and animation firm. A leading producer, consultant and instructor, Cartwright is author of Training with Video and Secrets of Successful Video Programs.t;BR id="CRLF"> Pre-Production Planning for Video, Film and Multimedia also includes 30 planning, production and post-production forms that can be accessed on an accompanying complimentary disk (for both IBM compatibles or Mac). Steve R. Cartwright is president of Cartwright & Associates, a training and communications company, and co-owner of the Motion Graphics Company, a computer graphics and animation firm. A leading producer, consultant and instructor, Cartwright is author of Training with Video and Secrets of Successful Video Programs.

  • Voice & vision : a creative approach to narrative film and DV production / Mick Hurbis-Cherrier ; illustrations by Gustavo Mercado
    PN 1995.9 P7H79 2007eb
    Voice & Vision is a comprehensive manual for the independent filmmakers and film students who want a solid grounding in the tools, techniques, and processes of narrative film in order to achieve their artistic vision. This book includes essential and detailed information on relevant film and digital video tools, a thorough overview of the filmmaking stages, and the aesthetic considerations for telling a visual story. The ultimate goal of this book is to help you develop your creative voice while acquiring the solid practical skills and confidence to use it. Unlike many books that privilege raw technical information or the line-producing aspects of production, Voice & Vision places creativity, visual expression, and cinematic ideas front and center. After all, every practical decision a filmmaker makes, like choosing a location, an actor, a film stock, a focal length, a lighting set-up, an edit point, or a sound effect is also an expressive one and should serve the filmmaker's vision. Every decision, from the largest conceptual choices to the smallest practical solutions, has a profound impact on what appears on the screen and how it moves an audience. "In Practice" sidebars throughout Voice & Vision connect conceptual, aesthetic and technical issues to their application in the real world. Some provide a brief analysis of a scene or technique from easily rentable films which illustrate how a specific technology or process is used to support a conceptual, narrative, or aesthetic choice. Others recount common production challenges encountered on real student and professional shoots which will inspire you to be innovative and resourceful when you are solving your own filmmaking challenges.

  • Producing and directing the short film and video / Peter W. Rea, David K. Irving
    PN 1995.9 P7R43 2010eb
    Producing and Directing the Short Film and Videois the definitive book on the subject for beginning filmmakers and students. The book clearly illustrates all of the steps involved in preproduction, production, postproduction, and distribution. Its unique two-fold approach looks at filmmaking from the perspectives of both producer and director, and explains how their separate energies must combine to create a successful short film or video, from script to final product. This guide offers extensive examples from award-winning shorts and includes insightful quotes from the filmmakers themselves describing the problems they encountered and how they solved them. The companion website contains useful forms and information on grants and financing sources, distributors, film and video festivals, film schools, internet sources for short works, and professional associations.

  • The complete film production handbook / Eve Light Honthaner
    PN 1995.9 P7H66 2010

    This book is for working film/TV professionals and students alike. If you're a line producer, production manager, production supervisor, assistant director or production coordinator--the book has everything you'll need (including all the forms, contracts, releases and checklists) to set up and run a production--from finding a production office to turning over delivery elements. Even if you know what you're doing, you will be thrilled to find everything you need in one place. If you're not already working in film production, but think you'd like to be, read the book -- and then decide. If you choose to pursue this career path, you'll know what to expect, you'll be prepared, and you'll be ten steps ahead of everyone else just starting out.

    New topics and information in the fourth edition include:
    * Low-budget independent films, including documentaries and shorts
    * Information specific to television production and commercials
    * The industry's commitment to go green and how to do it
    * Coverage of new travel and shipping regulations
    * Updated information on scheduling, budgeting, deal memos, music clearances, communications, digital production, and new forms throughout
    *Supplementary material and sample forms available at www.focalpress.com/ 9780240811505


  • Film production management / Bastian Clevé
    PN 1995.9 P7C54 2006eb
    Film Production Management will tell you in step-by-step detail how to produce a screenplay and get it onto the big screen. Whether you are an aspiring or seasoned film professional, this book will be an indispensable resource for you on a day-to-day basis. This updated edition remains true to the practical, hands-on approach that has made previous editions so successful, and has been updated with revised forms, permits, and budgets applicable to all productions; contains important information on standards and typical processes and practices; includes the latest information available on technological advances such as digital FX; and discusses the impact of the Internet on filmmaking. Film production professionals at all levels of experience will benefit from the information in this handbook to film production management.

  • The short screenplay : your short film from concept to production / Dan Gurskis
    PN 1996 G87 2007

  • Write your way into animation and games : create a writing career in animation and games / Christy Marx
    PN 1996 M444 2010

    Launch your career in writing for video games or animation with the best tips, tricks, and tutorials from the Focal press catalog--all at your fingertips. Let our award-winning writers and game developers show you how to generate ideas and create compelling storylines, concepts, and narratives for your next project.

    Write Your Way Into Animation and Games provides invaluable information on getting into the game and animation industries. You will benefit from decades of insider experience about the fields of animation and games, with an emphasis on what you really need to know to start working as a writer.

    Navigate the business aspects, gain unique skills, and develop the craft of writing specifically for aniamtion and games. Learn from the cream of the crop who have shared their knowledge and experience in these key Focal Press guides:

    Digital Storytelling, Second Edition by Carolyn Handler Miller

    Animation Writing and Development by Jean Ann Wright

    Writing for Animation, Comics, and Games by Christy Marx

    Story and Simulations for Serious Games by Nick Iuppa and Terry Borst

    Writing for Multimedia and the Web, Third Edition by Timothy Garrand

    ler

    Animation Writing and Development by Jean Ann Wright

    Writing for Animation, Comics, and Games by Christy Marx

    Story and Simulations for Serious Games by Nick Iuppa and Terry Borst

    Writing for Multimedia and the Web, Third Edition by Timothy Garrand


  • Picture yourself directing a movie : step-by-step instruction for short films and more / Eric Nicholas
    PN 1995.9 P7N49 2008
    Have you always wanted to make your own movie, but weren't sure howto get started? Look no further'you hold in your hands the perfect guide for entering the exciting world of filmmaking. Picture Yourself Directing a Movie provides a step-by-step look at the fundamental directing techniques and principles you need to know to make your film idea a reality. Using an easy-to-follow format illustrated with numerous full-color photos, Picture Yourself Directing a Movie walks you through the process of effectively visualizing your script, composing quality shots, staging scenes, and working with actors. You'll also learn to tell your visual story with maximum impact through proper camera placement and movement. Unlike other books on filmmaking, Picture Yourself Directing a Movie steers clear of difficult-to-understand industry jargon and never gets overly technical. It's simply a guide to producing a quality amateur film from start to finish'with the added bonus that you're being taught the tricks of the trade by a successful Hollywood director and screenwriter!

  • Filmmakers and financing : business plans for independents / Louise Levison
    PN 1995.9 P7L433 2010

    The first, most crucial step in making a film is finding the funds to do it. Let Louise Levison, who wrote the innovative business plan for "The Blair Witch Project," show you how. This unique guide teaches you not only how to create a business plan, but also how to avoid common business plan mistakes, so that you can attract and secure an investor. In jargon-free terms, the author leads you through every step. Each chapter concentrates on a different section of the business plan, including the industry, marketing, financing, and distribution. Large format films, new media and shorts are also discussed. The included companion web site features supplementary exercises and spreadsheets so that you get comfortable crunching the numbers--no math degree required!

    The sixth edition contains completely revised and updated industry data along with updated information on distribution including online and foreign markets. Plus, new interviews and case studies with filmmakers will show you real-world examples of equity investors and markets.



  • Screen adaptation : a scriptwriting handbook / Kenneth Portnoy
    PN 1996 P67 1998
    Screen Adaptation : A Scriptwriting Handbook, 2nd ed. examines the challenge screenwriters face when adapting novels, plays, and short stories for the screen. Thoroughly updated to include new exercises and example from current films, this book provides practical, usable information on how to find the best plot line for a script, choose key characters, and understand the goals and formats of different genres. Topics include: determining which characters and events are most valuable on developing the main story; expanding short novellas and condensing long novels; using dialog to advance the story and reveal character; comparing the formats of plays, short stories, and novels to those of screenplays approaching the marketplace In this book, both beginning writers and professionals will find the tools necessary to evaluate a prospective source and create a successful screenplay the tools necessary to evaluate a prospective source and create a successful screenplay

  • Directing the story : professional storytelling and storyboarding techniques for live action and animation / Francis Glebas
    PN 1995.9 P7G448 2009
    Francis Glebas, a top Disney storyboard artist, teaches artists a structural approach to clearly and dramatically presenting visual stories. They will learn classic visual storytelling techniques such as conveying meaning with images and directing the viewer's eye. Glebas also teaches how to spot potential problems before they cost time and money, and he offers creative solutions on how to solve them.

  • Writing for animation, comics & games / Christy Marx
    PN 1996 M446 2007
    Writing for Animation, Comics, and Games explains the practical aspects of creating scripts for animation, comics, graphic novels, and computer games. It details how you can create scripts that are in the right industry format, and follow the expected rules for you to put your best foot forward to help you break-in to the trade. This book explains approaches to writing for exterior storytelling (animation, games); interior/exterior storytelling (comics and graphic novels), as well as considerations for non-linear computer games in the shortest, pithiest, and most economical way. The author offers insider's advice on how you can present work as professional, how to meet deadlines, how visual writing differs from prose, and the art of collaboration.

  • The continuity supervisor / Avril Rowlands ; illustrated by Colin Cant
    PN 1995.9 P7R67 2000
    The Continuity Supervisor is a practical guide to the basics of continuity, designed to be of use both to the newcomer and those more experienced. Formerly titled 'The Continuity Handbook: a guide for single-camera shooting, this new edition covers the latest technological changes which affect the Continuity Supervisor. Avril Rowlands worked at the BBC for any years as a PA. She has been involved in specialised training for the television industry and major film and television colleges. Her highly acclaimed residential courses attract students from major television companies worldwide. She is also a writer and independent television producer.

  • Vale's technique of screen and television writing / Eugene Vale
    PN 1996 V27 1998
    Vale's Technique of Screen and Television Writing is an updated and expanded edition of a valuable guide to writing for film and television. Mr. Vale takes the aspiring writer through every phase of a film's development, from the original concept to the final shooting script. Teachers of the craft as well as writers and directors have acclaimed it as one of the best books ever written on how to write a screenplay. This book combines practical advice for the aspiring or established writer with a lucid overview of the unique features of this most contemporary art form, distinguishing film and video from other media and other kinds of storytelling. It teaches the reader to think in terms of the camera and gives practical advice on the realities of filmmaking. At the same time, Vale, who began his own career as a scriptwriter for the great French director Jean Renoir, provides a solid grounding in the history of drama from the Classical Greek theater through the great cinematic works of the twentieth century. Both philosophical and pragmatic, this is a very readable book for students and active professionals who want to improve their writing skills, and for film enthusiasts interested in knowing more about what they see on the screen. Mr. Vale is that rare combination, a practitioner of great experience who can offer a lucid explanation of his craft. Eugene Vale was born in Switzerland and began his career in France in the 1930s. He was an award-winning novelist, film and TV scriptwriter and teacher, whose works include the bestselling novel The Thirteenth Apostle and the scripts for Francis of Assisi, The Bridge of San Luis Rey, and The Second Face. He also worked in many other areas of the motion picture industry, including directing, producing, cutting, distribution and finance. His archives are held by Boston University and University of Southern California. Mr. Vale died in 1997, shortly after he completed the updated version of this handbook. tic works of the twentieth century. Both philosophical and pragmatic, this is a very readable book for students and active professionals who want to improve their writing skills, and for film enthusiasts interested in knowing more about what they see on the screen. Mr. Vale is that rare combination, a practitioner of great experience who can offer a lucid explanation of his craft. Eugene Vale was born in Switzerland and began his career in France in the 1930s. He was an award-winning novelist, film and TV scriptwriter and teacher, whose works include the bestselling novel The Thirteenth Apostle and the scripts for Francis of Assisi, The Bridge of San Luis Rey, and The Second Face. He also worked in many other areas of the motion picture industry, including directing, producing, cutting, distribution and finance. His archives are held by Boston University and University of Southern California. Mr. Vale died in 1997, shortly after he completed the updated version of this handbook. he completed the updated version of this handbook.

  • The business of media distribution : monetizing film, TV, and video content / Jeff Ulin
    PN 1995.9 M29U45 2010eb
    Written by the insider who headed sales for Lucasfilm across distribution markets and managed the release of Star Wars Episode III, this is the first book to show how all related media distribution markets, including television, video and online, work together and independently to finance and maximize profits on productions. It demystifies how an idea moves from concept to profits and how distribution quietly dominates an industry otherwise grounded in high profile elements (production, marketing, creative, finance, law). The book provides a unique apprenticeship to the business, illuminating at a macro level how an idea can move from concept to generating $1 Billion, relating theory and practice in the context of the maturation of global market segments, and exposing the devil in the detail that impacts bottom line profits. Producers, media executives, and entertainment attorneys in specific niches will benefit from this wide-ranging look at the business across various distribution outlets, including theatrical, television, airlines, merchandising, cable, and home video.

  • The Insider's Guide to Independent Film Distribution
    PN1995.9.M29 P37 2007 PN1995.9.M29P37 2007 PN1995.9.M29
    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 international buyers. Self-distribution and other alternatives to traditional distribution are also considered. As well, you'll hear some success stories from producers and hear directly from buyers what they 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

  • Produce Your Own Damn Movie!
    PN1995.9.P7 K386 2009
    Often low-budget filmmakers get thrown into the position of being not only the director, but their own producer. Using tips from the finest washed-up has-been producers in the business, this book will give the low-budget filmmaker practical tools for getting a movie shoot started, and keeping it going until it is supposed to end. From budgeting concerns to production-damaging acts of God, all will be discussed.

  • Film directing fundamentals : see your film before shooting / Nicholas T. Proferes
    PN 1995.9 P7P758 2008eb
    Film Directing Fundamentalsgives the novice director an organic methodology for realizing on the screen the full dramatic possibility of a screenplay. Unique among directing books, this book provides clear-cut ways to translate a script to the screen. Using the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story. A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and terminology. Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentalshelps filmmakers bring their story to life on screen.

  • The lean forward moment : create compelling stories for film, TV, and the Web / Norman Hollyn
    PN 1995.9 P7H65 2009
Updated: Monday 23 September 2019
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