ferrara abel (24 Ergebnisse)

Zustand: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Zustand: Brand New. 288 pages. 9.01x6.01x0.75 inches. In Stock.

Hardcover. Zustand: Brand New. 288 pages. 9.01x6.01x0.75 inches. In Stock.

Hardcover. Zustand: Brand New. 288 pages. 9.01x6.01x0.75 inches. In Stock.

Zustand: New. 2025. hardcover. . . . . . Books ship from the US and Ireland.

Tapa blanda. Zustand: Bueno. 23cm x 16cm, 247 páginas, buen estado.

Zustand: NEW.

Zustand: NEW.

36 S., OKart., sehr gut erhalten Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

14 S., OKart., in der Mitte geknickt, sonst sehr gut erhalten Aufgrund der EPR-Regelung kann in folgende Länder KEIN Versand mehr erfolgen: Bulgarien, Finnland, Frankreich, Griechenland, Luxemburg, Österreich, Polen, Rumänien, Schweden, Slowakei, Spanien.

Buch. Zustand: Neu. Neuware - A kaleidoscopic memoir by acclaimed filmmaker Abel Ferrara, director of the cult classic films Bad Lieutenant, King of New York, and Dangerous Game, offering an unflinching look at his life, career, and the gritty world of independent cinema.Throughout his five-decade career, film director Abel Ferraranow in his seventieshas been one of cinema's most provocative and critically revered figures. Since beginning as an independent filmmaker in Manhattan in the early 1970sbefore "indie films" were a genreand refining his craft as a director for the TV show Miami Vice, he has directed more than thirty feature films, most notably the cult classics Bad Lieutenant, King of New York, and Dangerous Game. His work, often controversial for its depictions of sex, violence, and drugs, has been praised for its sincerity and depth, with critics noting that his films take spirituality and morality more seriously than most films do. In Scene, Ferrara opens up about the inspiration for his creativity detailing his dramatic life journey, from his rough upbringing in the 1950s Bronx to reaching the pinnacle of his career while struggling with addiction. This memoir is not just a recounting of his life but a manifesto on what it means to be a true artistone who refuses to compromise and continues to create boundary-pushing work. Scene is a profound, beautiful, and inspiring account of an artist's relentless pursuit of creativity, making it a must-read for film fans and anyone interested in the gritty realities of the entertainment industry.

Zustand: new.

Zustand: Good. 27 x 41 inches. Rolled Full Color Movie Poster, Very Good. Abel Ferrara; David Caruso; James Russo.

Studio Pitarelli Roma, Selegrafica 80, October Films, 1996, tre locandine fotografiche a colori di cm. 67 x 48.

Encuadernación de tapa blanda. Zustand: Bien. Zustand des Schutzumschlags: Aceptable. Essays "Glamour Wounds: Rhonda Lieberman on The Jew Beat, Again," by Rhonda Lieberman; "Music: David Rimanelli and Tina Lyons on New Wave," by David Rimanelli and Tina Lyon; "Media Kids: Anne Marlowe on Rock at Princeton," by Ann Marlowe; "Exits and Entrances: Jeanne Silverthorne on David Mamets Oleanna," by Jeanne Silverthorne; "Film: Manohla Dargis on Gillian Armstrong's 'Last Days of Chez Nous,'" by Manohla Dargis; "Books: Gary Kamiya on James Miller's 'Passion of Michel Foucault,'" by Gary Kamiya; "Museum Piece: Thomas McEvilley on 'Exhibiting Cultures' and 'Museums and Communities,'" by Thomas McEvilley; "Eugenio Dittborn: Return to Sender," by Dan Cameron; "Half-Life: A Project for Artforum," by Nick Waplington with text by Jayne Anne Phillips; "Malice toward Nuns," Manohla Dargis talks with Abel Ferrara; "Luis Gordillo's Anxious Biology," by Lisa Liebmann; "You and I: The Art of Ketty La Rocca," by Judith Russi Kirshner; "The Sublime Theorist of Slovenia," Peter Canning interviews Slavoj i ek; "Openings: Chris Isner," by Daniela Salvioni. Reviews Donald Kuspit, Jan Avgikos, Barry Schwabsky, Kirby Gookin, Ben Lifson, Joshua Decter, A.M. Homes, David Pagel, Andrew Perchuk, Jenifer P. Borum, Keith Seward, Lois Nesbitt, Patricia C. Phillips, RoseLee Goldberg, Francine Koslow Miller, James Yood, Therese Lichtenstein, Maria Porges, Amy Gerstler, Benjamin Weissman, Laura U. Marks, Carlos Basualdo, José Luis Brea, Massimo Carboni, Giorgio Verzotti, Anne Dagbert, Miriam Rosen, Peter Nesweda, Claudia Jolles, Noemi Smolik, Sabine B. Vogel, Peter Funken, Michael Corris, Charles Green. Cover: Nick Waplington.

Draft script for the 1994 film, with annotations in manuscript ink on the title page. Loosely based on the 1955 novel "The Body Snatchers" by Jack Finney. The third film adaptation of Finney's novel, preceded by "Invasion of the Body Snatchers" (1956), directed by Don Siegel, and starring Kevin McCarthy and Dana Wynter, and "Invasion of the Body Snatchers" (1978), directed by Philip Kaufman, and starring Donald Sutherland and Brooke Adams. Director Abel Ferrara's first film for a major studio and his first foray into science fiction. An Environmental Protection Agency inspector and his family travel to a remote military base, where he and his daughter become convinced people are being replaced by aliens. Nominated for the Palme d'Or. Set and shot on location in Selma, Alabama. Untitled International Creative Management, Inc. wrappers. Title page present, dated October 22, 1991, noted as POLISH DRAFT, with credits for screenwriters Stuart Gordon and Dennis Paolia, and revision credit (noted as "polish" credit) for Nicholas St. John. 122 leaves, with last page of text numbered 120. Xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound internally with two gold brads. Spicer Neo-Noir US.

Archive of material relating to the 1998 film. Archive includes four scripts dated variously between 1991 and 1997 and credited variously to screenwriters Christ Zois, Zoë Lund, and William Gibson, as well as approximately ten pages of correspondence and ephemera relating to the film's production, and a xerographically duplicated copy of Gibson's source story. One screenplay with the ownership name of Zois on the title page. From the archive of Christ Zois, Abel Ferrara's frequent co-screenwriter. Of note are several pieces of correspondence regarding writing credits for the film, dated variously between 1997 and 1998. Screenwriters Abel Ferrara and Christ Zois claimed that prior adaptations of Gibson's novel by Gibson, Lund, and others had no bearing on their own adaptation. Ferrara and Zois would ultimately receive sole screenwriting credit on the completed film. Based on the 1984 short story by William Gibson, about two freelance industrial spies in Tokyo who decide to use a call girl to execute their latest mission. Shot on location in New York. November, 1991 Draft: Self wrappers. Title page present, dated November 1991, noted as Third Draft, with credit for author and screenwriter William Gibson. 93 leaves, with last page of text numbered 92. Xerographic duplication, rectos only. Pages Near Fine, partially bound with a binder clip at the top left corner. October 9, 1993 Draft: Self wrappers. Title page present, dated Oct. 9. 1993, noted as SECOND DRAFT, with credit for screenwriter Zoë Lund. 116 leaves, with last page of text numbered 109. Xerographic duplication, rectos only. Pages Near Fine, partially bound with a binder clip at the top left corner. September 28, 1997 Draft: Self wrappers. Title page present, dated 9/28/97, noted as Draft, with credits for screenwriters Christ Zois and Abel Ferrara. 75 leaves, with last page of text numbered 74. Xerographic duplication, rectos only. Pages Very Good plus, partially bound with a binder clip at the top left corner. Undated Draft: Self wrappers. Title page present, undated, with credit for screenwriter Christ Zois. 99 leaves, with last page of text numbered 98. Xerographic duplication, rectos only. Pages Very Good plus, partially bound with a binder clip on the top edge, and housed in a red card folder.

Archive of two Draft scripts for the 2020 film, one undated and with the ownership name of screenwriter Christ Zois on the title page-this being from Zois' archive collection-with Zois' extensive annotations in manuscript ink throughout, the other dated June 27, 2017. From the archive of Christ Zois, Abel Ferrara's frequent co-screenwriter. The sixth collaboration between actor Willem Dafoe and director Abel Ferrara, a psychological thriller heavily based on the work of Carl Jung, about an American living a largely solitary existence in Siberia. Undated script: Self wrappers. Title page present, undated. 33 leaves, with last page of text numbered 32. Xerographic duplication, rectos only. Pages Very Good plus, unbound. June 27, 2017 script: Self wrappers. Title page integral with first page of text, dated June 27, 2017. 37 leaves, with last page of text dated 37. Pages Very Good plus, partially bound with a single binder clip on the top left corner.

Pas de couverture. Zustand: Bon. Authentic French promotional photo (Dangerous Game) signed Abel. Obtained in person in September 1993 in Paris. Rare clear signature. Size : 21x30 cm. Condition : the photo is a little bit creased, see scans please. Provenance : Eric Leguèbe (1935-2002) collection, French journalist and film critic who worked for the newspaper Le Parisien. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Two vintage borderless reference photographs from the 1985 film, both showing actress Melanie Griffith. A former boxer turned nightclub promoter joins together with a police detective to investigate a serial killer targeting strippers. Set in Manhattan, and shot on location in New York and Los Angeles.

First Draft script for the 2014 film. From the archive of Christ Zois, Abel Ferrara's frequent co-screenwriter. A biopic about the final days in the life of controversial Italian director Pier Paolo Pasolini, then middle-aged and living in Rome, as he finishes production of his notorious 1975 film "Salò, or the 120 Days of Sodom." Housed in a blue card folder. Title page present, dated February 28, 2011, noted as First Draft, with credits for director-screenwriter Abel Ferrara and screenwriter Nicola Tranquillino. 98 leaves, with last page of text numbered 97. Xerographic duplication, rectos only. Pages about Fine, partially bound with a binder clip on the top left corner.

Collection of 17 vintage reference photographs taken on the set of the 1995 film by photographer Shade Rupe. Variously featured are director Abel Ferrara, actress Lili Taylor, cinematographer Ken Kelsch, screenwriter Nicholas St. John, and other cast and crew members, all photographed over the course of a single evening near Manhattan's Puck Building, Lafayette Street, an alley off Jersey Street, NYU, and Keith Haring's Pop Shop on Lafayette Street. Struck in 2020 from Rupe's original negatives, these being the only existing prints. Full provenance available, with letter from Rupe stating "no other prints have ever, or will ever, be struck." Stamp on verso of each photo crediting Rupe as photographer. A conceptual, black-and-white reimagining of the vampire movie, about a philosophy graduate student who is forced to reconsider the nature of evil and humanity after succumbing to a vampire and developing an addiction to human blood. Set and shot on location in Manhattan. 12 x 9 inches. Fine. Arrow 1769. Spicer US Neo-Noir.