Cinematographer (96 Ergebnisse)

Paperback. Zustand: Very Good. Film Production is a long established and authoritative textbook on the techniques and processes of filmmaking from script to screen. It provides an easy to follow technical introduction to the subject, demystifying the processes and explaining terms for the beginner. It deals with the `technology of expression' showing how technology enables the concept of cinematic language or grammar. By mastering the various technical aspects of filmmaking, the potential for effective, evocative, meaningful and significant cinematic expression becomes increasingly possible. A broad understanding of the entire process of filmmaking will benefit even the specialist. The book begins with an examination of film stock and exposure, and then goes on to a study of the camera, its operation and the procedure for shooting. The book then looks at editing, camera movement, composition and lighting explaining both the technology and creative uses. Each chapter refers to the most widely used techniques and treats filmmaking as a practical art. This is a book that every new entrant to the film industry should read.Steven Bernstein is a Lecturer at the University of Southern California Film Department and has been a Director of Photography on many feature films including `Like Water for Chocolate' - the highest grossing foreign language film in the history of the American film industry and winner of over 30 international awards. He has a wealth of experience in directing and cinematography as commercials and documentaries for BCC and Channel 4. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. …

Trade Paperback. Zustand: Near Fine. 1st Edition. First Trade paperback edition with full number line at copyright page. Illustrated throughout with color photographs. Pages clean, unmarked, binding tight and square. Covers clean, colors bright, minor edge and general wear. Media Mail, Priority & most international shipping include free tracking information. Every book listed is located in my smoke free and climate controlled shop. All are inspected by me and will have qualities and/or flaws described. Size: 4to - over 9¾" - 12" tall. By Cinematographer (illustrator). …

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Hardcover. Zustand: Very Good. Unborken tape in box with minimal wear.

hardcover. Zustand: New. In shrink wrap. Looks like an interesting title.

Paperback. Zustand: Brand New. 96 pages. 8.31x5.87x0.24 inches. In Stock.

Paperback. Zustand: Brand New. 96 pages. 8.31x5.87x0.24 inches. In Stock.

paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

hardcover. Zustand: New. In shrink wrap. Looks like an interesting title.

Soft cover. Zustand: Near Fine. No Jacket. 3rd Edition. Undated. 144pp plus 16pp catalogue. Illustrated card cover with titles to front and spine. No inscriptions. Very lightly bumped. Clean bright and tight. A very nice copy indeed.

Vintage borderless black-and-white photograph from the set of the 1968 film. On the set of "Sweet November," pictured from left to right: cinematographer Daniel L. Fapp and actors Anthony Newley and Sandy Dennis. The film follows the story of a troubled young woman who seeks out emotionally crippled men and invites them to live with her for a month in an attempt to "cure" them. However, she and Mr. November become quite attached, and when he tries to continue the relationship past its prescribed termination, he uncovers Sara's (Sandy Dennis) tragic secret. Set in New York City, shot on location in New York City. 10 x 8 inches. Near Fine, with a blue manuscript notation to the verso.…

Collection of 3 vintage studio still photographs from the 1968 film. From the library of Christopher C. Geest, with his stamp on the verso of each photograph. Based on John Haase's 1966 novel, "Me and the Arch Kook Petulia," about newlywed San Francisco socialite Petulia Danner (Christie), who is determined to have an affair with physician Dr. Archie Bollen (Scott). Petulia's pursuit of Archie is relentless, even as he dates another woman, and culminates in a curious twist. The film makes use of various time jumps, but even with an uneven plot still remains an overlooked gem of 1960s New Hollywood. The Grateful Dead and Big Brother and the Holding Company lend tunes for the soundtrack. 8 x 10 inches. Fine.…

Pas de couverture. Zustand: Bon. Signed album page. Obtained in person in 1987 in Paris. + Photo 20x15 cm (recent print). Size : 21x14 cm. Condition : please see scans. Provenance : impressive collection of a Parisian autograph hunter called Thierry (or Terry). Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.…

The book is a photographic narrative on New York, all pictures taken as handheld camera shots in the dark winter months of the year. They give a personal, filmic view of this famous metropole. Johansson explains his work this way: ôHere there is no beginning, nor end. No manuscript. There is a rhythm. A sequence of scenarios. Each scene is comprised of various takes. Stills, fames from the great film reel, every picture is part of a narrative.ö Also, the book has a postscript by Mogens Rukov, the famous script-author of many recent Danish films. , Danish/ English, Year2003, Illust. B/W2, Illust. Color63, ISBN 8798913875, Code 5344. Softbound, In Pristine Condition, Bio. Pages 120, Size 11 1/2öx 7 1/2ö.…

Vintage US one-sheet poster for the 1982 US release of the 1956 French film. An important release, as the film had never before been screened in wide distribution in the US until 1982-only once at the New York Film Festival in September 1981. Melville's fourth film and first of a series of noir crime thrillers for which he would become famous. Well-regarded both as film noir and as part of the French New Wave, the latter because of its use of a single jump cut, location shooting, and use of a handheld camera for many shots. Set in Paris, and shot on location there. 27 x 41 inches. Folded as issued, with rubbing at the folds, else Near Fine.…

Vintage studio still photograph from the 1969 film. Provenance stamp on the verso. A little known film by the Z movie filmmaking team of Michael and Roberta Findlay, described in Linda Williams 1999 book "Hard Core: Power, Pleasure, and the 'Frenzy of the Visible,'" as "the most notorious filmmakers in the annals of sexploitation." 8 x 10 inches. Near Fine.…

Vintage studio still photograph from the 1968 film. Provenance stamp on the verso. One of two sequels (along with the 1968 film "The Kiss of Her Flesh") to exploitation maestro Michael Findlay's 1967 breakthrough "The Touch of Her Flesh." Strip club owner Steve, a killer of strippers, seeks revenge after catching his stripper wife with another man. Set in and shot on location in New York. 8 x 10 inches. Very Good plus, with light creasing at the extremities.…

Pas de couverture. Zustand: Bon. Rare - Authentic signed card. + Photo 23x15 cm (recent print). Size : 8x13 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Pas de couverture. Zustand: Bon. Authentic card signed in 2005. + Photo 10x15 cm (recent print). Size : 8x13 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Pas de couverture. Zustand: Très bon. Authentic photo signed in person in 2005 in Brussels. Size : 15x20 cm. Condition : see scans please. Provenance : PhP Autographs collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

English-language treatment script for an unproduced Italian film. With a single manuscript ink annotation to page 2, noting an editorial revision. Laid in with the script is a xerographically duplicated cost estimate sheet, in both English and Italian, noting the name of cinematographer Pasqualino de Santis, dated July 1978. A middle-aged, newlywed nobleman feels trapped in his marriage to his young wife, a beautiful but avaricious middle-class woman, and is led to increasingly bizarre measures in order to escape her clutches. Ostensibly intended as a follow-up to "Divorce Italian Style" (1961, co-written by screenwriter Alfredo Giannetti) and "Marriage Italian Style" (1964). Set in Sicily. Green wrappers, with a title label and credits for screenwriter A. Giannetti affixed to the front wrapper. Missing title page, presumably as issued. 8 leaves, with last page of text numbered 6. Xerographic duplication, rectos only. Pages Fine, wrapper Near Fine, with perfect binding.…

Zustand: Good. [12] pp. 46x30.5 cm (18x12"). Horizontal crease, moderate wear, some toning and soil; Gutters with old tape .I.The working titles of the film were The Body Snatchers and They Came from Another World. According to a modern source, director Don Siegel considered using the title Sleep No More. Except for the opening and ending sequences at the hospital, the story is told as a flashback, with intermittent voice-over narration by Kevin McCarthy portraying "Dr. Miles Bennell." Those bookend sequences and the narration were added to the script at the insistence of the studio to give the picture an upbeat ending, and shot a few months after principal photography was completed, which accounts for the actors, including Richard Deacon and Whit Bissell, being excluded from the credits. According to a 1969 Films and Filming article, Siegel claimed that Allied Artists studio heads also wanted to edit out some other moments from the film, but it is unclear whether this was done.The title of the film was changed from The Body Snatchers, which was the title of Jack Finney's two-part magazine serial, to avoid confusion with RKO's 1945 production of Robert Louis Stevenson's The Body Snatcher (see entry). Finney's story, which was published in Collier's in November and December 1954, was published as a novel in early 1955. Popular horror novelist Stephen King is quoted on a website as saying that The Body Snatchers "set the mold for what we now call the horror novel." Although only Daniel Mainwaring is credited onscreen as the scriptwriter of the film, some modern sources state that future director Sam Peckinpah, who had a cameo role as "Charlie Buckholtz," worked on script revisions.According to a March 1955 Hollywood Reporter news item, portions of the film were shot in Chatsworth, Sierra Madre, and Woodland Hills, CA. Several locations in the Hollywood Hills' Beachwood and Bronson canyons were also used, among them the corner of Beachwood and Belden drives, a long stairway from Belden to Hollyridge Drive, and the Bronson Caves. An April 1955 Hollywood Reporternews item claimed that thirty-eight location sites were used for the film and that only four days of interior shooting were planned. A website dedicated to the locations for the film adds shooting sites in Glendale, Hollywood, Los Feliz, the San Fernando Country Club, the Chatsworth railway station, and Mulholland Drive at the Hollywood Freeway. Kevin McCarthy's character's office was located in Sierra Madre, overlooking the triangle intersection of Foothill and Baldwin avenues where farmers delivered truckloads of pods.Although, as a May 1955 Hollywood Reporter news item stated, Invasion of the Body Snatchers was the first Allied Artists film to be shot in SuperScope, The Return of Jack Slade (see entry) was the first Allied Artists SuperScope movie to be released. According to an April 1955 Hollywood Reporter news item, Invasion of the Body Snatchers was one of the first pictures to come under a new Los Angeles smog control regulation concerning the shooting of fire scenes and other special film effects. To schedule the shooting of scenes involving fires, the script first had to be approved by the Air Pollution Control District. According to the news item, Los Angeles County also requested script approval of fire scenes.According to a January 1956 Hollywood Reporter news item, the film was to premiere in Detroit, MI, although no date was given for the performance. Invasion of the Body Snatchers was unusual for a horror film, in that it portrayed no violence, and special effects were kept to a minimum. According to Siegel in the Films and Filming article, he and producer Walter Wanger had intentionally agreed to do this. As noted in the Los Angeles Times review, the film ended on an "unresolved note" and the review added, "it seems, the first time [Miles] goes to sleep, he, too, will become a vegetable.".One complaint against the film, as noted in the Daily Variety review, is that the "film would have benefitted through more explanatory matter to fully illuminate the scientific premise." The Los Angeles Times review reported that the film never explained how "these devilish pods found their way into a small California town." The Hollywood Reporter review summed up the film: "While the mechanics of the plot gimmick are rather sketchily handled?the actual telling of the story?contains a great deal of solid emotion and suspense.".In later eras, Invasion of the Body Snatchers would be analyzed as a product of the Cold War, dramatizing either America's fear of Communists or a response to the House Committee on Un-American Activities. However, contemporary reviews mention neither and seem to provide a more general interpretation. The LAEx review stated, "lurking close to the story surface is the suggestion that maybe, in these hectic times, we have subconsciously been hoping for some way out." According to the Hollywood Repoter review, Mainwaring and Finney "seem to be saying that modern man, tired of facing the mental problems of our intricate age, is prone to welcome the irresponsible life of a human vegetable." As for Finney's intention, his 1995 New York Times obituary reported that he "maintained that the novel was nothing more than popular entertainment.".A 1978 remake produced by Robert H. Solo, also titled Invasion of the Body Snatchers, was directed by Philip Kaufman and starred Donald Sutherland and Brooke Adams as "Matthew Bennell" and "Elizabeth Driscoll." In that production, which was set in San Francisco, Siegel and McCarthy made cameo appearances: Siegel as a taxi driver, and, in an homage to the earlier film, McCarthy appears briefly, slamming onto the windshield of Sutherland's car as he yells, "They're coming! They're coming! You're all in danger!," then runs off down the street, where he is fatally struck by a car. Warner Bros. set a third version of Finney's work, the 1993 Body Snatchers, on a military base. That version was directed.…

Draft script for the 1996 film. Copy belonging to an unidentified crew member, with their annotations in manuscript ink regarding filming locations and lighting on virtually every page. Laid in with the script are several production documents, including three summaries of storylines in the film and a 1995 Typed Letter Signed from producer Sarah Kaplan, as well as ten manuscript leaves describing different story lines in the film. A US Army officer is assigned to investigate an Army Captain who is being posthumously considered for the Medal of Honor-potentially becoming the first woman to receive the decoration. During his investigation, the officer begins to uncover conflicting stories about the captain's death, causing him to struggle with a troubling combat incident from his own past. White untitled wrappers. Title page present, undated, with credit for screenwriter Patrick Sheane Duncan. 139 leaves, with last page of text numbered 137. Xerographic duplication, rectos only, with one white revision page dated 1-20-95. Pages Very Good plus, wrapper Good, with dampstaining to the extremities, bound internally with two gold brads.…

Vol.70 N° 4 - Avril 1989 - Revue mensuelle illustrée - Texte en anglais - In-4 - Broché - 108 pages - En couverture : Robert Downey Jr. & Cybill Shepherd / Chances Are Bon état.

Vol.70 N° 8 - Août 1989 - Revue mensuelle illustrée - Texte en anglais - In-4 - Broché - 92 pages - En couverture : Carey Lowell & Timothy Dalton / Licence to Kill Bon état.

Vol.69 N° 11 - Novembre 1988 - Revue mensuelle illustrée - Texte en anglais - In-4 - Broché - 92 pages - En couverture : Scene from The Accidental Tourist (Photo by Jurgen Vollmer) Bon état.

Vol.70 N° 1 - Janvier 1989 - Revue mensuelle illustrée - Texte en anglais - In-4 - Broché - 92 pages - En couverture : Mel Gibson / Tequila Sunrise Bon état.

Vol.70 N° 12 - Décembre 1989 - Revue mensuelle illustrée - Texte en anglais - In-4 - Broché - 116 pages - En couverture : The DeLorean / Back to the Future Part II Bon état.

Vol.70 N° 11 - Novembre 1989 - Revue mensuelle illustrée - Texte en anglais - In-4 - Broché - 128 pages - En couverture : Fat Man and Little Boy (photo by Peter Sorel) Bon état.