Video Production Books

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Esta publicacion internacional es el recurso ideal para cualquier persona que desee aventurarse en la implantación de Portafolios electrónicos. En este Manual han escrito expertos de todo el mundo quienes traban con portafolios electrónicos en instituciones de diversa naturaleza. En especial es una excelente compra para instituciones de iberoamérica quienes se inician en la aventura de los portafolios electrónicos.


This International Publication is the perfect resource in your adventure thorght ePortfolios. It has the experience of experts in ePortfolios all over the world.

Long over due. Stephen Foster is one of the great intellectual minds of our time...

I am fairly new to the Wenders world, his school of life and wings. The movie and the book are beautiful. Cinematoraphy/photography tightened into the form of a man's luminescent imagination.

Anyone who purchased the first Art of HELLBOY will not be disappointed by this "sequel". Mike Mignola & Wayne Barlowe are now joined by the talents of Francisco Ruiz Valasco & Stephen Scott. Guillermo Del Toro again includes his notebook sketches for some evolutionary insight between his imagining to finished character. The complete & final script is once again included. As impressive as this book is I must admit I am even more eager about the forthcoming Monsters of Hellboy II. But this book does stand alone quite easily for anyone, Either for fans of the series or anyone interested in design.

Brill's contention is fascinating: Hitchcock was NOT a macabre misfit interested only in the sick and scary. Rather, says Brill, H's films on the whole are hopeful, affirming, generating conventional suspense and working toward a happily-ever-after ending. Works like Psycho and Vertigo, Brill contends, are exceptions to more typical works like North by Northwest and The 39 Steps, which are quite upbeat and happy. According to Brill, Hitch is really an ironist whose occasional subversions of his generally hopeful outlook have received more critical attention; but that doesn't mean his whole ouevre is one of despair or pessimism. Brill argues magnificently in many well-informed essays; though his citation of Trouble with Harry as the quintessential Hitchcock film is a bit hard to swallow. Highly recommended for Hitchcock fans!

Hollywood In Wide Angle: How Directors View Filmmaking is a fascinating, insightful, and at times very blunt view of the ins and outs of the film trade specifically from the view of more than thirty directors, all interviewed by social scientist Jack Rothman with the guarantee their responses would remain anonymous. The result is a bitingly canded of everything wrong in the American film industry today, and perhaps the occasional acknowledgement of the few things that have not completely soured yet. From regret over award-winning foreign films that are shown in barely 2 theaters in the U.S., to reactions to studio's emphasis on the bottom line that puts increasing pressure and control, forcing directors to shoot in other nations or to modify the film according to audience testing, to the practice of replacing seasoned or visionary directors with "shooters" - young kids straight out of film school who will work for less and be easier to control - Hollywood In Wide Angle dishes out the dirt and offers a hard, realistic look at the industry. Fascinating for the lay reader, and an absolute must-read for anyone interested in getting into the director trade - there is no better place to learn about the hard knocks of directing short of interviewing 30 directors personally.

Hollywood Renegades introduces us to a group of independent filmmakers whose collective efforts and use of their movies as weapons against the major studies effectively ended the old Hollywood studio contract system. Historian J.A. Aberdeen reveals fascinating information (much of it previously unreported) about the rise and fall of the Society Of Independent Motion Picture Producers (SIMPP) and how an independent filmmaker movement of more than 50 years ago laid the foundation of the modern Hollywood we have today -- and a struggle by independents to make and distribute their films that continues into the present day. Highly recommended reading for all movie buffs and cinema history students, Hollywood Renegades reveals the astonishing stories of Charles Chaplin, Walt Disney, Samuel Goldwyn, Alexander Korda, Mary Pickford, David O. Selznick, Walter Wanger, Orson Wells and others whose impact on American filmmaking was as profound and far reaching as they were talented and ambitious.

For more than three decades The Hollywood Reporter has published the Blu-Book Production Directory - the ultimate resource for production. Now the Hollywood Creative Directory, the most reliable contact resource for Hollywood insiders, has joined forces with The Hollywood Reporter to make the Blu-Book even better. For professionals and new filmmakers alike, the 2004 Blu-Book Production Directory has comprehensive contact info on everything you need to produce a film, TV show, commercial or music video - "the yellow pages to the production business." If you want to produce, this is a must-have directory for film, TV, commercials and music video

1. Over 200 product & service categories
2. Over 6,000 listings

-- Production Equipment & Services - From Storyboards to Screening Rooms
-- Camera, Lighting & Sound - Equipment & Services
-- Sound Stage Specs - Expanded to include New York Stages
-- Post Production Services - Includes Animation, Title Design & Film Scoring
-- Special Effects - Equipment & Services
-- Location, Transportation & Travel Services
-- Below-the-Line Talent - Includes DP's, Cinematographers, 1st AD's, Film & Video Editors, make-up artists and more (with contacts)
-- Expanded NY Production Services and Stage Charts

Doug Gomery has written a fine book on the history of the Hollywood studio system. Whereas earlier treatments of this topic tend to neglect the period after the rise of television, Gomery does an excellent job of covering that period as well. One argument in the book that scholars will recognize as original is that the studio heads have always been quite concerned about distribution issues and that even though they no longer directly control the majority of movie screens they still have a lot to say about what gets screened and where. There is considerable detail in the book on the history of each of the major studios based on archival materials and interviews. This book should be required reading, in short, for anyone writing about Hollywood in the future.

This charmingly study of the Hollywood studios explains that it was the personality and taste of the moguls that determined the house styles of both the kind of films made and the artists who made them. Mordden is particularly good in analysing at length certain films that exemplify each style. Paramount was the industry's first big studio and monopolised the theatre chains which guaranteed exhibition of their product, giving founder Adolph Zukor the confidence to experiment. Paramount valued the individuality of directors Ernst Lubitsch and Mitchell Leisen who made elegant "boudoir snafu", and writer/directors Preston Sturges and Billy Wilder. The actors they served best were clowns, like The Marx Brothers, WC Fields and Mae West. MGM was Louis B Mayer and he reigned with zealotry, blackmail and tyranny. His operation was a factory and anyone who disturbed the running of the assembly line was discarded - director Erich von Stroheim who's Greed ran for 7 hours, tempestuous diva Mae Murray, womaniser John Gilbert), even the self-willed Lillian Gish who demanded artistic control of her films. Mayer favoured factotum - company men who had a talent for treating actors, like Clarence Brown who guided Garbo's transition into talkies in Anna Christie. Whilst Mayer's style of polished glamour was epitomised by Grand Hotel, which featured stars, art direction by Cedric Gibbons, gowns by Adrian, and the high-key lighting of William Daniels, his head of production, Irving Thalberg earned cudos for greenlighting unprofitable prestige titles over Mayer's objections, like King Vidor's The Crowd and Todd Browning's Freaks. However Thalberg's death left Mayer unchecked, and his Andy Hardy "family" values homogenised the studio's mentality - like Dorothy's banal realisation that there's no place like home. Arthur Freed's unit produced innovative musicals, but as the studio wound down Mayer was replaced by bookkeeper Dore Schary, who favoured the reliably mediocrity (Kathryn Grayson) to the unpredictable avatar (Judy Garland). The smaller studios may have existed on low budgets but that doesn't mean their output was always crummy, even if history has forgotten them because the titles have been lost. Hal Wallis' First National featured Colleen Moore who originated the flapper bangs that Louise Brooks gets credit for. Republic was a minor major (or a major minor), starring the singing cowboys Gene Autry and Roy Rogers, skater Vera Hruba Ralston (the wife of mogul Herbert J Yates), and John Wayne, who won the studio the best picture Oscar for The Quiet Man. Columbia rose to greatness via Frank Capra, Rita Hayworth and screwball comedy, but it's real success was due to mogul Harry Cohn, legendary for being mean. His idea of artistic freedom was "just do it. If it makes money, do another one. If it loses money, you're fired". Some independent artists tried to adapt to life at the studios. Buster Keaton's experience with MGM ruined him. Chaplin, Mary Pickford, Douglas Fairbanks, and D W Griffin formed United Artists, but had no studio of their own. Samuel Goldywn retained a studio after the merge with Metro and Mayer. He saw himself as a showman like Ziegfield, his taste ranging from literary titles like Wuthering Heights and The Little Foxes, and vaudevilleans like Eddie Cantor and Danny Kaye. His famous blunder was Nana, an attempt to make Anna Sten the new Garbo/Dietrich and also present Zola to the American public. Amusingly Sten's fractured English was as imitable as Goldwyn's own malaproprisms. David O Selznick shared Goldwyn's taste in literature though his quest for control was without equal. Beginning at RKO then joining MGM when he married Mayer's daughter ("The son-in-law also rises" was the nepotistic quip) before forming Selznick International Pictures, his vision was as epic as the infamous memos to his directors. He had his own Anna Sten in his wife, Jennifer Jones, and though their efforts weren't as disastrous as Goldwyn's, he could never better the albatross success of GWTW. Warner Bros was the major studio run on a quickie's low budget, Jack Warner's motto being "keep it moving". The look is flat realism, the milieu urban. Warners was Edward G Robinson, Cagney, Bogart, Bette Davis and Rin Tin Tin. The Jazz Singer was a stunt that paid off. Warners is also backstage musicals with Busby Berkerley's kaleidoscopic formations, Depression-era socially conscious titles like I Am a fugitive from a chain gang, The Maltese Falcon, and Casablanca. Fox is 2 studios - Fox Film with Mary Pickford, Theda Bara, Will Rogers; and Darryl Zanuck's Twentieth Century Fox. Zanuck was bold. His Depression-era saviour was child star Shirley Temple. He liked blonde women and dark men - Alice Faye, Betty Grable, Marilyn, Victor Mature, Tyrone Power, and vaudeville interlopers, like The Ritz Brothers and Carmen Miranda. In response to WW2 his technicolour was garish. His humanist polemics like The Grapes of Wrath and The Ox-bow Incident led the way for Gentleman's Agreement and Pinky at the height of McCarthyism. Zanuck outlasted all the other moguls, and even had a second chance. RKO never had a mogul but was the distributor for independent producers like Pandro S Berman who made the early Katharine Hepburn. Selznick's success with King Kong enabled RKO's Astaire/Rogers series. Orson Welles made Citizen Kane, and Lucille Ball's Desilu saved it from the ghost town Howard Hughes had made. Universal and founding mogul Carl Laemmle had reactionary tendencies - Griffith directed Mary Pickford and the Gish's. Their big ones served their aesthetic - Showboat, Lon Chaney's Hunchback of Notre Dame, All Quiet on the Western Front. However things improved with Fritz Lang's film noir, James Whale's Frankenstein, WC Fields and Abbott and Costello. Later we have camp - Maria Montez, Deanna Durbin, Douglas Sirk's camp weepies, and the Rock Hudson/Doris Day comedies. The divestiture of the theatre chains in 1950 signaled the end of Hollywood's Golden Age, the bulldozing of the MGM backlots in the 1970's a metaphor for a lost era, though Universal turned their lot into a successful theme park.