Film, TV and Radio industries Books
McFarland & Co Inc Hammer Complete
Book Synopsis Think you know everything there is to know about Hammer Films, the fabled Studio that Dripped Blood? The lowdown on all the imperishable classics of horror, like The Curse of Frankenstein, Horror of Dracula and The Devil Rides Out? What about the company''s less blood-curdling back catalog? What about the musicals, comedies and travelogues, the fantasies and historical epics--not to mention the pirate adventures? This lavishly illustrated encyclopedia covers every Hammer film and television production in thorough detail, including budgets, shooting schedules, publicity and more, along with all the actors, supporting players, writers, directors, producers, composers and technicians. Packed with quotes, behind-the-scenes anecdotes, credit lists and production specifics, this all-inclusive reference work is the last word on this cherished cinematic institution.Trade ReviewThis tome contains everything anyone would want to know about the British company...[Maxford's] love for his subject is palpable. Numerous black-and-white photographs provide a sense of the period and people involved...a hefty read. The ultimate resource for die-hard fans of Hammer Film Productions."--Library Journal"This superb encyclopedia is likely the definitive work on Britain's most celebrated genre film producer...this book covers the entirety of the studio's filmography, not neglecting its forays into crime films and comedies. Although Maxford is obviously a big fan, he doesn't pull any punches about Hammer's missteps and Hammer Complete functions as a guide to film quality as well as a purely factual work...tons of illustrations, including rare foreign-market posters. A major achievement"--Booklist"A towering achievement...Maxford provides much info that appears to be original, exclusive and fresh...belongs in every horror aficionado's library"--Horror News"Highly recommended"--ARBA"Ultimate A to Z of everything Hammer...excellent Hammer Historical Tome"--Little Shoppe of Horrors"Hammer Complete is every bit the monster as the vampire adorning it's cover.... It's thorough as hell...more thorough than thorough"--Flick Attack"A true labour of love. The level of detail is quite astounding...an invaluable go-to reservoir of information...it's unlikely this one will ever be surpassed. Deserves immense praise...there is plenty of new and insightful material here...a huge, well-researched reference book that no Hammer aficionado should be without"--Cinema Retro"Maxford is a superb writer, his book is well researched, entertaining, and good-humoured. It's also an invaluable book: if you purchase it, you will never part with it. Kudos to McFarland for producing such a well-bound and presented book. Well done! No disposable download compare to a thing of beauty and joy forever as Hammer Complete"--Hellbound"It is really hard to be not excited when a book comes out on one of your favorite studios that is just a few pages shy of a 1000! Sure, some of you that ask, do we really need another book on Hammer Films? Well if it is as massive and thorough as this one, then that would be a definite yes! I have been waiting on this book to come out since McFarland announced it well over a a year ago, but had no idea how colossal of a tome this would be. Buy this book. If you are any kind of Hammer fan that craves information about the studio that dripped blood, then you must own this. It will be a never ending source of not only is a few minutes to browse through this before you come across a few titles that is going to make you want to go watch them again. That is a sign of a great book. I know I will be pulling this out each and every time I do any research on Hammer."--Kitley's Krypt"It's thorough as hell...more thorough than thorough"--Bookgasm"Massive volume...a true treasure trove of information about all things Hammer...valuable"--ICv2Table of Contents My Life with Hammer—A Rather Rambling Introduction The Encyclopedia Appendix Notes Bibliography Index
£999.99
University Press of New England Lookout America The Secret Hollywood Studio at
Book SynopsisThe history of the Cold War film studio Lookout Mountain Laboratory
£45.90
Bloomsbury Publishing PLC Latin American Film Industries
Book SynopsisFilm production in Latin America is as old as cinema itself, but local film industries have always been in a triangulated relationship with Hollywood and European cinema. This book situates Latin American film industries within the global circulation of film production, exhibition and distribution, charting the changes that the industries have undergone from the sound era to the present day. Focusing in particular on Argentina, Brazil and Mexico, Tamara Falicov examines commonalities among Latin American film industries, such as the challenges of procuring funding, competition from Hollywood, state funding battles, and the fickle nature of audiences, as well as censorship issues, competition from television, and the transnational nature of Latin American film. She addresses production, exhibition, and distribution contexts and financing and co-production with Europe and the United States, as well as the role of film festivals in funding and circulating films both within and outside of Latin America. Newer trends such as the revival of protectionist measures like the screen quota are framed in contrast to the U.S.'s push for trade policy liberalization and issues of universal concern such as film piracy, and new technologies and the role of television in helping and hindering Latin American cinema.Trade Review[T]here is no denying that Falicov has done her research. The result is an ambitious and timely elucidation of contemporary Latin American cinema as a complex and highly varied set of interconnected national industries * The Journal of Cinema and Media Studies *Table of ContentsIntroduction.- Chapter 1.- The Historical Development of Latin American Film Industries.- Founding of the studio systems in Argentina, Brazil, Mexico.- The coming of sound and the issue of language.- The demise of the studio system.- State-supported filmmaking in Latin America.- Chapter 2.- Public Financing in Latin America.- Film Institute Support.- Co-production initiatives such as Programa Ibermedia.- Film festival financing such as the Hubert Bals Fund (Rotterdam).- Public television support.- Chapter 3.- The Role of the Private Sector.- The MPA as co-producer and distributor.- Television channels as investors.- Television-Film dynamics.- Chapter 4.- The Exhibition Sector and Audience Tastes.- The Evolution of Movie Theaters.- Segmentation of film industries.- Marketing Latin American film.- Chapter 5.- Going Global: Film Distribution and Film Festivals.- Film Distribution in Latin America.- Overview of Distribution Outlets.- Film Festival Opportunities for Distribution.- Financing via festival markets, labs, seminars.- Chapter 6.- Film Policy in Latin America.- Protectionist Policies: Are they working?.- Film Piracy in Latin America.- The Role of New Technologies in Exhibition and Distribution.- Emerging Industries in Latin America.- Conclusion.- Bibliography.- Tables and Charts.
£35.86
Monash University Publishing Now More than Ever: Australia's ABC
Book Synopsis
£19.53
Rutgers University Press Televisuality: Style, Crisis, and Authority in
Book SynopsisAlthough the "decline" of network television in the face of cable programming was an institutional crisis of television history, John Caldwell's classic volume Televisuality reveals that this decline spawned a flurry of new production initiatives to reassert network authority. Television in the 1980s hyped an extensive array of exhibitionist practices to raise the prime-time marquee above the multi-channel flow. Televisuality demonstrates the cultural logic of stylistic exhibitionism in everything from prestige series (Northern Exposure) and "loss-leader" event-status programming (War and Remembrance) to lower "trash" and "tabloid" forms (Pee-Wee's Playhouse and reality TV). Caldwell shows how "import-auteurs" like Oliver Stone and David Lynch were stylized for prime time as videographics packaged and tamed crisis news coverage. By drawing on production experience and critical and cultural analysis, and by tying technologies to aesthetics and ideology, Televisuality is a powerful call for desegregation of theory and practice in media scholarship and an end to the willful blindness of "high theory."Trade Review“This may be the most sophisticated study of the American television medium, industry, and aesthetic to date. Caldwell ranges through industry bumf and the academic bibliography to rescue the medium from theoretical simplifications. [An] insightful and allusive text that leaves virtually no familiar generalization unchallenged.” * Choice, Outstanding Academic Title *“An original and outstanding contribution to television scholarship…. Illuminating both in its examination of television at a specific historical moment and in challenging common academic conceptions about the medium for their failure to engage with the historical changes in television production. -- Allan D. Campbell * Velvet Light Trap *“[A] well-researched volume.” * Library Journal *“With its combined attention to television aesthetic, economic, and technological aspects, it [is] a highly innovative book that question[s] a great deal of conventional wisdom.” * European Journal of Media Studies *“Engrossing and thought-provoking…. Televisuality points to a hole in television studies and highlights an interdisciplinary approach-combining the economic with the aesthetic and ideological-that could help to plug it.” -- Matthew P. McAllister * Film Quarterly *“Televisuality is a theoretical term coined by John Caldwell in the mid-1990s to characterize a change in the look and practice of television programming. This change began around 1980 and continues to the present day. Describing and discussing television through the lens of televisuality requires one to consider television as a mode of mass communication reliant on popularity with viewers and created in an industrial context whose labor relations affect how shows are produced. Overall, the main identifying feature of ‘the televisual’ is ‘an excess of style.’ Thus, programs produced from the 1980s onward are likely to break with traditional ‘invisible’ production styles and to innovate in ways that call the viewer's attention to the constructedness of the show—that it is a televisual text and that the viewer is watching (or, in a best-case scenario, participating) in the construction of meaning through attraction to or investment in the style of the televisual text.” * Encyclopedia of Gender in Media Televisuality *"Intense and complex." -- Markus Stauff * University of Amsterdam *Table of ContentsContents Preface Part I The Problem of the Image 1 Excessive Style: The Crisis of Network Television 2 Unwanted Houseguests and Altered States: A Short History of Aesthetic Posturing 3 Modes of Production: The Televisual Apparatus Part II The Aesthetic Economy of Televisuality 4 Boutique: Designer Television/Auteurist Spin Doctoring 5 Franchiser: Digital Packaging/Industrial-Strength Semiotics 6 Loss Leader: Event Status Programming/Exhibitionist History 7 Trash TV: Thrift-Shop Video/More Is More 8 Tabloid TV: Styled Live/Ontological Stripmall Part III Cultural Aspects of Televisuality 9 Televisual Audience: Interactive Pizza 10 Televisual Economy: Recessionary Aesthetics 11 Televisual Politics: Negotiating Race in the L.A. Rebellion Postscript: Intellectual Culture, Image, and Iconoclasm Acknowledgments Notes Bibliography Index
£127.30
