Filmmaking and production Books

Book SynopsisDiscover the wands of your favorite Harry Potter characters.In the Harry Potter films, each wand is as unique as the witch or wizard who wields it. From Hermione Granger’s elegant, vine-wrapped wand to the bone-inlaid wands of the Death Eaters, each was designed and crafted by the filmmakers to reflect its owner’s identity. Harry Potter: The Wand Collection is a visual guide to these magical wands, their makers, and the characters who mastered them. Profiles of each wand feature stunning new photography of the original props, wand statistics, insights from the cast and crew, and other filmmaking secrets from the Warner Bros. archive. This collectible volume is an ideal resource for both wand-wielding veteran fans seeking to learn the history behind these beloved items and a new generation just beginning their journey into the wizarding world. 

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Book SynopsisThe film-making partnership of Michael Powell and Emeric Pressburger was one of the most remarkable and visionary in cinema. They made an extraordinary range of films, from The Spy in Black and The Life and Death of Colonel Blimp to A Canterbury Tale and The Red Shoes. With champions like Martin Scorsese and Francis Ford Coppola, and revived critical interest worldwide, they now find new generations of admirers. This illuminating new book looks closely at these classic films to explore their complex relationship to national identity, and their interest in exile, borderlands, utopias, escapism, art and fantasy. Moor reveals for example how the visual imagery of the films of the Second World War question current cinematic styles and how post war films like The Red Shoes and The Tales of Hoffman are in their highly expressive use of design, music and dance utterly international in character.Trade Review'Powell and Pressburger made beautiful, deviant and mongrel films that are famously un-pindownable. Moor's book challenges this belief in their rootlessness and shows how they fit into the movie genres, social history, empire, gender, nation, literature and iconography. He's particularly good on the postwar films, and brilliant on David Niven.' Mark Cousins 'Andrew Moor does full justice to the richness of their great films of the 1940s, and relates them in fascinating ways to the events of this pivotal decade in twentieth-century British history.' Charles Barr 'Essential reading for anyone engaging with the work of Powell and Pressburger.' Screen 'Eclectic and intellectually stimulating. - This book is clearly a labour of love, but that only adds to its worth and readability.' Historical Journal of Film and Television ' - A valuable text for both students and academics that is pertinent for study relating to postmodernism, cultural geography, postcolonial studies, gender studies, film studies, and the affect/effect of cinematic spaces on the spectator.' Journal of Popular Film and Television

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Book SynopsisThe phenomenon of time was a central preoccupation of Tarkovsky throughout his career. His films present visions of time by temporal means - that is, in time. Tarkovsky does not represent time through coherent argument, Nariman Skakov proposes, rather he presents it and the viewer experiences the argument. This book explores the phenomenon of spatio-temporal lapse in Tarkovsky's cinema - from Ivan's Childhood (1962) to Sacrifice (1986). Dreams, visions, mirages, memories, revelations, reveries and delusions are phenomena which present alternative spatio-temporal patterns; they disrupt the linear progression of events and create narrative discontinuity. Each chapter is dedicated to the discussion of one of Tarkovsky's seven feature films and in each, one of these phenomena functions as a refrain. Skakov discusses the influence of the flow of and lapses in space and time on the viewer's perception of the Tarkovskian cinematic universe. He opens and closes his original and fascinating book on Tarkovsky's cinema by focusing on the phenomenon of time that is discussed extensively by the filmmaker in his main theoretical treatise Sculpting in Time, as well as in a number of interviews and public lectures.Trade Review'An illuminating long take of the creative work of one of the most enigmatic and thought-provoking filmmakers of the twentieth century. The book sets high standards not only for thinking about Tarkovsky, but for writing about cinema as such. By combining a reflection on the cinematic and the philosophical, this book transforms the boundaries of both.' - Dragan KujundA ic, Professor of Film and Media Studies and Slavic Studies, University of Florida; 'Before this book, Tarkovsky's preoccupation with "sculpting in time" had become a critical cliche. Here Skakov brings it alive again, offering a fresh, theoretically-informed and entirely original approach. He reveals Tarkovsky's work as creating "textural" temporality, offers fresh readings of the key films, and a compelling theoretical framework.' - Emma Widdis, Head of Department of Slavonic Studies, Cambridge UniversityTable of ContentsList of Illustrations Acknowledgements Note on Transliteration Preface: On Space(s) and Time(s) 1. Dreams of Ivan’s Childhood 2. Visions of Andrei Rublev 3. Phantasies of Solaris 4. Memories of Mirror 5. Revelations of Stalker 6. Recollections of Nostalghia 7. Illusions of Sacrifice Postscript Endnotes Filmography and Credits Bibliography Index

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Book Synopsis

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