Arts and Culture Books

REVIEWED BY PROFESSOR WILLIAM DOTY OF THE UNIVERSITY OF ALABAMA:

A disclaimer at the beginning: I have been in touch with the author for several years, counseling and advising as his analytical genius has ripened into the fabulous array of learning in this book. It is so stunning that it has led me to reconceive totally my own approaches to what is slightingly termed "popular culture" (we so need a better term -- one sees the dilemma especially in that wicked nineteenth-century distinction between "high" and "low" -- yet this distinction is now outgrown as our mass-mediated culture finds elegant waiters at toney restaurants dressed in the cowboy blue jeans that were prohibited at public schools in my childhood in high-mountain New Mexico).

Ebert's scope/s must be emphasized at the outset. I have never read an analyst who -- in the most brilliant chapter of the volume -- shows how Spielberg and Kubrick have been filming cosmologies, cosmogonies that rival Hesiod's, and are further complicated in that they are -- pace Ebert -- strongly influential upon one another. Were I more "with it," I could imagine teaching chapter 12, "Stanley Kubrick and Steven Spielberg: A Study in Polarity," in my course on Origin, Emergence, and Creation Myths.

Displaying an amazingly comprehensive compass from Spengler to Campbell and Margulis, Ebert may be one of the few cultural analysts around who can blithely skip from supposedly "Celtic" materials to Egyptian, Assyrian, and even Paleolithic analogues to celluloid fantasies of the master filmmakers of our era. The Spielberg-Kubrick chapter alone is adequate reason to own this book. Ebert sees the two of them as, in effect, writers of our contemporary Zeitgeist-ial scriptures, contributors along with many other filmmakers to contemporary mythic expression.

Personally rather ignorant of cinema, I often had to grab my huge film compendia to figure out who various characters named were, and I haven't a clue as to the reference to "Maxwellian demons" (221). But the author is clear that "our contemporary situation involves the challenge of living in a society dominated by machines, and our psyche's response to this challenge is expressed by the myths of our popular culture, in which machines are personified as living beings" (222). "And so the problem of living in a mechanical/electronic society is what the new myths coming to us in celluloid form are attempting to deal with, for it is a problem that has been appearing with more and more obsessive frequency since the 1960s, and shows no signs of abating" (223). His first sentence asks "What are the new myths?" (1), and after expositing just how they appear in many films, he concludes that the auteurs are "busy dreaming up myths to hold our society together for a little longer" (223).

Such "conscious use of myth" (5) is what makes directors such as Kubrick and Lucas differ from Modernist authors and artists: Joseph Campbell, for instance, saw James Joyce and Thomas Mann, Paul Klee and Pablo Picasso as providing the new myths of his own time, completely ignoring film, which he considered "a decline into realism" (3). Quite in contrast, Ebert proposes that "Film [...] is a Gesamtkunstwerk [an all encompassing artistic product] that has taken up the frayed threads of the drama, novel, classical music, symbolist poetry, painting and acting, and woven them together into a new integral art form" (4).

This author's penchant for inserting all sorts of sources into one of his thematic nets is remarkable. In commenting on our culture's phenomenon of gigantism ("an attribute of both cultural and biological forms signaling that they are about to vanish" (196), he refers to the eighteenth-century Great Chain of Being, Darwin's theory of evolution, the temples at Luxor and Karnak, and the gigantic arches of decaying Rome. Then we have the Paleolithic, the Eleusinian mysteries, the Mesopotamian New Year's Festival, and monastic activities of Lindisfarne and Iona, before reference to the ouroboros in Kekulé as well as Homer, Tibetan sandpaintings, Dante, Jung, Milton, Mann, the Byzantine iconoclasts -- alongside the films Close Encounters, Star Wars, and The Lord of the Rings (196-98).

"These films are fulfilling an unconscious yearning of the public for connection with a vanished mythological tradition that is no longer taught in schools, which have shifted over to a largely vocational and technological, rather than humanistic curriculum" (198) -- part of Ebert's repeated sermon about the dangerous loss of human culture and history before the increasing onslaught of applied technology and commercialism, a theme as well in his book of interviews, Conversations on Science and Spirituality at the End of an Age, 1999.

The author is most exercised by the "visionary" filmic tradition established by George Melies at the dawn of cinema (as opposed to the "realistic" projections of the Lumières brothers; 19). Many enormously important artists such as Werner Herzog and Akira Kurasawa surface often in the book, as classical masters of modern film. What is so useful about this book is the ways Ebert -- who must have an astonishingly rich ability to remember scenes and themes and perspectives -- elucidates influences and revisions of the giants' productions. That of course is what makes traditional culture, folklore, mythology alive, as in Campbell's most famous citation: "The latest incarnation of Oedipus, the continued romance of Beauty and the Beast, stand this afternoon on the corner of Forty-second Street and Fifth Avenue, waiting for the traffic light to change" (The Hero with a Thousand Faces, 1968-2nd ed., 4).

So far as I am aware, no one before Ebert has attempted to read the entire sweep of contemporary cinematic productions (or at least those he most admires) with respect to the levels of mythical consciousness they represent. Nor have they patiently tracked, as this author displays in a marvelous appendix, "The Evolution of Visionary Cinema Since 1968" (227-55), the lines of the direct cinematic inheritances and influences of key films (such as Planet of the Apes, 2001: A Space Odyssey, A Clockwork Orange, The Godfather, Aguirre: The Wrath of God, Jaws, Star Wars, Close Encounters, and many others).

In some ways a rather cranky book: Ebert is sharp-tongued especially about the ways the humanities are by-sided in the massive onslaught of applied technologies in our time. But as an academic "on his side," I can only cheer fervently the ways he shows how contemporary films are replacing the traditional scriptures of our cultures. This volume will be an important reference tool for some time to come.

--William Doty, author of Mythography: The Study of Myths and Rituals

John Ebert's remarkable book, Celluloid Heroes & Mechanical Dragons, does to movies what Joseph Campbell's Hero With a Thousand Faces did to myths. This is a mouthful, I know, but Ebert delivers. Armed with vast knowledge of our cultural past and a profound understanding of our present, he ventures into the world of "celluloid myths" (that Campbell pretty much dismissed until, as pointed out in the book, George Lucas turned him on to his Star Wars trilogy) and comes back with the boon. And what an incredibly rich and enriching boon it is.
Ebert uses his vast knowledge of myths, and practically everything else, to reveal the mythic dimension of some our most popular movies. As he maintains in the book, the first conscious incorporation of myths in movies, what he calls celluloid myths, was initiated by Stanley Kubrick's 2001: A Space Odyssey, which (according to the author) was inspired by Campbell's Hero. All the films discussed in the book are heirs to Kubrick's 1968 masterpiece: "2001 was the first major presentation of a theme that would come to be reiterated in film over and over again, namely that of the battle of an individual human being against an impersonal system that is threatening to dehumanize him, whether that system is defined as the megalopolitan city, the meta-national corporation, or technology in general . . .All are reworkings of Bowman's battle with HAL."
What I really liked about the book is that it doesn't dissect the movies to death, but rather provided enough insight so that I wanted to see many of these movies again. Before finishing the book, I couldn't wait to get the DVD's of the first two covered movies, Apocalypse Now (Redux) and 2001. The "guided tour of the films of David Cronenberg" even got me to the point where I want to take a second look at his movies, which (the ones I saw) I generally find hard to watch. I guess this best describes what the book did for me. Somewhat like the shield in Perseus and the Gorgon Medusa, it functions as a mirror that allows us to see the Mechanical Dragons that have become such a prevalent part of our movies (and our lives) and how they're slain by our Celluloid Heroes. It updates many of our most popular myths as never before.

With a white-hot strike to the center of the frozen, sterile and inert films that typifies modern Hollywood, John David Ebert reignites the passion, grandeur and vision that make film the most compelling, and relevant form of mass entertainment today. By distilling the great films of yesterday and today, Ebert manages in clear, distinct and entertaining prose to explain and explore why film has surpassed the novel as the preeminent purveyor of myth and wonder in our society.

His journey is precise and with an overall purpose, however, one may skip to chapters that hold special interest, for me, I found that reading the entire book was far more satisfying, even when I arrived at dissimilar conclusions than Ebert. For example, Ebert has long been an admirer of David Croenenberg, a director I find distasteful and vulgar in many respects, but in reading Ebert's exploration of Croenenberg's films, I found a new prism in which to view the director, and upon seeing his latest work A HISTORY OF VIOLENCE, watched the film with a deeper sense of what he was trying to achieve.

For me, myth has always been the cornerstone of all great art, whether it be visual art (painting), films, novels, I find that all such works are enriched by a foundation that embraces the great mysteries and universal connections which are the lynchpin of myth. Ebert's gift is the uncanny ability to take interesting films and dissect them at a historical, mythological and sociological level, deepening our understanding and appreciation of what makes certain films imprint the mind with images that recur and haunt and amaze us. What's even more interesting is that many of us watch these films with only a subconscious understanding of why they grip us in their web, which is actually the point. Myth is anything but conscious, it's wellspring is the imagination, the realm of dreams and nightmares and visions, and as such, need not be fully understood to be effective. Ebert's gift is to be able to show us all the facets that arise from the world's myths, whether rooted in Western or Eastern culture, his erudition, knowledge and ability to make them all cohesive is amazing. He's a good writer, a better thinker, a good critic, a better scholar.

One would assume that such an examination of myth and films would be dry and turgid, but just take a look at chapter 3, which is an interview Ebert did for a magazine. The discussions range from APOCALYPSE NOW to GODFATHER 3 to 2001 A SPACE ODYSSEY, and the way Ebert breaks them down is incredible. On APOCALYPSE NOW, he describes the film as a hero's descent into the underworld, mirroring some of Dante's INFERNO, and then in the same sentence, makes a segue to the Egyptian Book of the Dead, where the sun god Ra, journeys down a river through a kingdom of the dead, encountering obstacles until he reaches the Lord of the Dead, Osiris. Sounds convuluted? You're wrong. Ebert makes the transition so seamless and obvious that I actually started laughing with sheer intellectual enjoyment at what he was saying. In the same chapter, Ebert takes on the notion that many of these mythological symbols are accidental and not planned by the creative artist, and again provided brilliant analysis. For some, Ebert agrees, these symbols are certainly not always intentional, but he goes on to say that they spring for a universal source of creativity that is tied directly into the mythological wonder that occurs when the creative spirit is open to anything. So, though Kubrick certainly knew what he was doing when the ape throws the bone that becomes a spaceship, other artists arrive at the same powerful symbols through their own inward journey, which manifests itself as something that has existed for thousands of years. If you're confused by this, don't worry. Ebert breaks it down far more eloquently than I can, that's why he writes about myth and I try to tap into them in my day-job as a screenwriter.

A few nitpicky comments so as not to give the impression that I agree with EVERYTHING Ebert writes, that would make me a less-than critical thinker, which I hope I will always be. I wish he'd gone more into the Western and its mythic underpinnings, specifically films like THE WILD BUNCH, THE SEARCHERS, RED RIVER, ONCE UPON A TIME IN THE WEST, and THE MAN WHO SHOT LIBERTY VALANCE, all of which seethe with classical mythological symbols and images (John Wayne standing in the open doorway at the end of the Searchers as civilization occurs within the house, while he's forever isolated from such comforts). Also, Ebert has a list of films he considers notable, and while "best ever" lists are always subjective, it's still a fun way to measure your tastes against others to see what you have in common and more importantly, what you don't agree on. Ebert has a top 16 of his generation, topped by 2001, and including JAWS and TITANIC. Every film on the list has been at least tangentially or substantively discussed in the book, but as with any list, there are some head-scratchers for me. I wouldn't include all 3 original STAR WARS films, I would only include EMPIRE STRIKES BACK, and leave it at that. I would drop VIDEODROME, AI, and SCHINDLER'S LIST (Ebert has a great affinity for SPIELBERG, a director I think is visually brilliant, but intellectually facile). Other than that, the list isn't bad, considering Ebert limited himself to "my generation" freeing himself from having to go back to a number of other great films. He pretty much starts his list from 1968 and moves forward, leaving the omission of WILD BUNCH (1969) as a puzzler, but subject to lively debate. That's what makes the book great, Ebert lays out the foundation of these visionary films and their directors and then invites you to do your own investigation and arrive at your own conclusions. His, he states with force and logic and conviction, no getting around that. But the whole point is for you to leave the book wanting more and going back to favorite films and having a second, third of fourth look, seeing new symbols, new connections, previously unnoticed.

The idea that visionary films have replaced great novels as the preeminent creative force of our time is one that bears more exploration. In the old days, you had great writers like MANN, JOYCE, PROUST and HESSE. Now, you have prose stylists masquerading as "serious" writers, with nothing visionary and interesting to contribute. they write mostly to impress their brethren, the audience be damned. I'm no Thomas Wolfe fan, but I agree with his manifesto years ago, that today's writers have abandoned great, realist stories in favor of fancy prose and post-modern angst that makes for empty reading. Films admittedly have their share of bad writers and bad directors, but on the other hand, there are more interesting and talented and risk-taking artists in filmmaking today than in literature. You have SPIELBERG, TYWKER, VINTERBERG, CUARON, SALLES, COPPOLA (he has one last masterpiece, trust me), SCORSCESE, JACKSON, CARO, CAMERON, et al. They represent a vital, powerful force that is driving the great films of today and tomorrow. If nothing else, Ebert's book leaves you awaiting the next, great work of these artists, knowing it will draw on symbols and touchstones that go back thousands of years, to our universal connection. And that's all we really care about when we view art. We want to be moved, touched, transported, entertained, frightened.

Awed.

Ebert knows this.

So should you

In the introduction to his "Understanding Media," McLuhan wrote that his editor "noted in dismay that `seventy-five percent of your material is new. A successful book cannot venture to be more than ten percent new.'" Ebert's "Celluloid Heroes & Mechanical Dragons" presents a lot of new material, but when the world has changed and few have noticed, there's a lot to cover.

To understand Ebert's book we have to address change, as in technology (biotech, computing, nanotech, quantum theory, etc.) is about to change us as a species. And a lot of the traditions that used to help us with change, like European intellectuals, the literary novel, and academia, are nowhere to be found.

Europe has left the scene. Today, looking at European/American culture wars, one is tempted to think of a quiet retirement community disturbed by rowdy teenagers with noisy motorcycles. The bikers can be dangerous, but we are not going to hear anything new from the retirees.

Academia has collapsed. We might have hoped that in a period of profound change academia would be on the case. Not. The contemporary PhD thesis, article, and book in cultural studies is typically written by putting poststructuralist jargon in a word randomizer and printing out the results to signal that one is a member of the tribe. (One such randomizer, Pixmaven's Instant Art Critique Phrase Generator, is available online) Which leaves it to the nonacademic "independent public intellectual" to analyze our culture. John Ebert is a leading member of this vital group.

And the literary novel has ended. Myers' "A Reader's Manifesto" looks at the state of the contemporary literary novel, the pretentious kind that wins awards and gets reviewed in literary magazines, and finds that it has degenerated into gibberish-"some of the most acclaimed contemporary prose is the product of mediocre writers availing themselves of trendy stylistic gimmicks." Ebert makes a related point at the beginning of "Celluloid Heroes" where he writes: "Surveying at a glace the current states of western literature ... compared to its state in, say the first half of the twentieth century, what strikes one is an appalling decline in overall quality."

Ebert's conclusion? A culture chooses an art form in which to invest its energy. That art form has a period of vitality and then falls into decline. The literary novel has fallen into such a decline, and has been replaced by movies.

Ebert's interest is in what he calls the "visionary movie" since 1968 (think Speilberg, Kubrick, Coppola, Lucas, Cronenberg, Tarkovsky, Scott, Cameron, etc.), and its focus on the impact of technology on our culture and ourselves as human beings. His approach is to treat movies as mythologically informed literature.

Despite the rejection of mythology in much of academia, it appears that our filmmakers have retained their mythological literacy, whether through subliminally absorbing the classics, or actually reading them. Ebert observes that in "Apocalypse Now," Coppola shows Kurtz reading Eliot's "The Hollow Men," which was inspired by Conrad's "Heart of Darkness," also the source of the plot of the movie, while the camera picks up Frazer's "Golden Bough" and Weston's "From Ritual to Romance" on Kurtz's desk.

What do we mean by mythology? We might describe a mythological position, particularly as taken by Joseph Campbell, as the notion that the structures and patterns of the energies of the cosmos that pour into the phenomenal realm are revealed in our myths, literatures, and arts.

Ortega y Gasset wrote:
"[T]he political or cultural aspects of history are... the mere surface of history; that in preference to, and deeper than these, the reality of history lies in biological power, in pure vitality, in what is in man of cosmic energy, not identical with, but related to, the energy which agitates the sea, fecundates the beast, causes the tree to flower and the star to shine."

It is this cosmic energy that Ebert identifies in the great visionary movies of our time. Thus Visionary movies are mythologically based and assume that there are archetypal patterns in the course of empires and nations, in our becoming fully human, in the human/technology interface, and in the cosmos itself. Academia today, with its poststructuralist viewpoint, takes Locke's "tabula rasa" position and is profoundly anti-essentialist, vehemently denying transcendence and archetypal patterns. Ebert's book is a refutation of this position.

From Ebert's point of view, the role of the movie critic becomes to approach movies with a background of literacy adequate to unpacking them and helping us in our readings of them. Ebert does this. Few other movie critics can.

So, should you buy this book? Here is how to decide: Write down a list of your top sixteen films. If five or more overlap with Ebert's list, order the book immediately. Here is Ebert's list.

1. 2001: A Space Odyssey
2. Apocalypse Now
3. The Star Wars movies
4. The Godfather movies
5. Close Encounters of the Third Kind
6. Alien
7. Blade Runner
8. Videodrome
9. Raiders of the Lost Ark
10. The Shining
11. The Exorcist
12. A.I,
13. Schindler's List
14. The Road Warrior
15. Titanic
16. Jaws

Another test is that if you enjoy the books of Joseph Campbell or William Irwin Thompson, you will love this book. You can see more of Ebert's work at the website, CinemaDiscourse.

John Ebert's book is essential reading for anyone even slightly interested in "visionary" film-- that genre of film that explores the imaginative and mythic possibilities of film, pioneered all the way back with George Melies, and carried on by such modern proponents as Kubrick, Coppola, Lynch, etc (where Ebert's focus predominates). He offers his keen scholarly insight into the mythic and sociological undercurrents of this still-evolving trend, which I found to be fresh and original. While one will inevitably disagree with some of his assessments ("The Matrix" as garbage?), that's actually some of the fun--and value--of works like this, since it forces one to formulate one's own views in response more clearly, and stimulate one's thinking in ways that straight consensus wouldn't.

There are a few notable omissions from his overview---horror films and experimental cinema surely deserve an seat at this visionary table--but then, a work covering every conceivable facet of this subject would have required a series of volumes rather than just one, so that may actually be a blessing in disguise. All in all, an important work on the premier art of our time--cinema.

This is a beautifully written book on the portrayal of New York City in the movies. The author is extremely knowledgeable about the architecture of NYC (in fact, he is a New York architect), about the geography and history of NYC, and about film, both in its historical and technical aspects. The writing is imaginative, lyrical, thoughtful, and intelligent--this is a labor of love that took 15 years to complete. If you have any interest at all in New York City or in film, do yourself a favor and buy this book. It made me want to go out and rent at least 60 of the films discussed in it, and it reminded me of many great films set in NYC that I've enjoyed in the past and will want to see again to note some of the characters, themes, landmarks, or stage sets that Sanders describes.

If there was ever a book that really needed to be written, and was then executed nearly flawlessly, this is it. Documenting the multi-threaded releationship of New York City and Hollywood (the movie biz began in NYC, and the studios' financial offices remained there; much of the writing/directing/acting talent came to Hollywood from NYC; Hollywood's backlot NYC was the setting of thousands of films; the ideas of the Hollywood versions eventually changed the real thing; etc.), this is a heckuva fun and interesting read.

Among its most fascinating parts are information on the techniques used to create believable NYC settings by the studios (e.g., the most detail I've ever seen on Hitchcock's enormous Rear Window set), examples of the vast amount of architectural and local-color detail contained in the studio's art department photographic files (more than in some of NYC's museums!), and its general architectural analysis of NYC's major iconic structures: skyscrapers, rowhouses, tenements, train stations, nightclubs, etc.

But of even greater interest are the detailed treatments of how NYC was SHOWN in films (both well-known classics and obscure titles) of different genres and eras, and how the IDEA of NYC affected the world audience, and eventually changed the city itself as new generations flocked to their city of dreams... A flip through the photographs alone is a total pleasure.

This is a great book for film buffs, fans of NYC, architecture students, and those interested in 20th century social history. (I'm all of those things, and I LOVED it!)

If you have an interest in films, architecture or New York City then the purchase of this film is a no-brainer. The book is packed with photographs of movies and film sets that feature the buildings of New York. Another reviewer mentioned the Alfred Hitchcock set shot from the film Rope. I would add the shots from Fountainhead and Week-end at the Waldorf as being special and stunning.

James Sanders said that he spent 15 years writing and researching this book and it shows. His points are well written and quite informative.

I would strongly suggest the hardcover edition for its slightly larger size and the quality of the Knopf binding.

First editions can be purchased used at a very attractive price. Like I said, no-brainer.

This fascinating exploration of the interrelationship between the city of New York as an urban center and its portrayal throughout the history of moviemaking is filled with perceptive insight and thoughtful analysis. Highly recommended.

How New York is seen (figuratively and literally) by the rest of the world has been influenced more by Hollywood than anything else. James Sanders brilliant "Celluloid Skyline: New York and the Movies" explores the relationship among Gotham, Hollywood, and the rest of the planet. There's a lot here, and a lot of material that has never been presented before.

Each section offers specific insights into the cinematic image of New York: its icons, its myths, its realities. What is also intriguing is how Hollywood's directors manipulated actual city locations to make it look "more like New York". One of my favorite essays has to do with the "domestic" look of New York: its mansions, row houses, and tenements. Also fascinating is the section called "Nighttown"--Hollywood loves the dangerous flavor of New York's streetlife.

This is a marvelous book with a marvelous look. Take one of the other reviewers' advice, however, and get the hardcover. The size makes a big difference.

Growing up in Chicago in the late 70's I missed Bishop's Sven. I started out with the Ghoul and was hooked forever when Rich Koz opened his coffin on Ch 32. Since that time I've lost precious brain cells to the permanent memories of those classic parodies and skits. Mr. Robbers, 50 Ways to Blow Your Cover, and more.

So, I had to get this book. It is a quick read (nearly half is just a list of b-grade movies) and tells the tale of how Svengoolie came to be and where the whole thing started. If you are a fan of Svengoolie you owe it to yourself to take this fun trip down memory lane, or elm street...whichever.

I bought this book on a whim for my boyfriend who grew up watching Svengoolie on Saturday nights. He absolutely loved learning more about the show he adored as a child.

I grew up in Detroit, so I missed out on most of the programs covered here, except for the maniacal Ghoul (Ron Sweed, a Motor City favorite) and the wacky and still active Svengoolie, played by the talented Rich Koz. In spite of this, however, I loved reading this book because it captures the fun and the essence of what every monster movie fan of my generation experienced, from the happily demented horror hosts to staying up late to watch those glorious (sometimes gloriously awful) films we cherished so much. Remember, this was mostly before home video came along. The book is loaded with nostalgic advertisements for these movies, the kind of ads that made you drool in anticipation.

Some folks might question why there's an entire appendix devoted to a "100 Monster Movies" rating guide, but to me it's one of the most enjoyable sections of the book because it goes hand-in-hand with the overall history of this subject. How can you discuss monster movie programming without discussing the monster movies themselves? If anything, I wish they'd gone a step further and covered even MORE titles. A few of my favorite films were overlooked. Am I the only one who has fond memories of CREATION OF THE HUMANOIDS? (Maybe I am.)

The book is well researched, fun to read, and has lots of wonderful photos and graphics. It makes me sorry that I missed out on all the fun. But then again, I didn't. No matter where you grew up, watching monster movies on television was a universal experience. This book captures that experience beautifully.

Let me start by saying I am from Chicago and I am a Chicago History buff.

As a child and into my teens watching Creature Features on Channel Nine (the opening as a six year old terrified me), and then the Son of Svengoolie on WFLD, I loved local tv. Why do I say this? Simply put - I had high expectations for this book. The good news is that Ted Okuda and Mark Yurkiw exceeded them.

Looking for Elvira - you won't find her - but "Dear" clearly was a feast for the eyes. Now I finally know what my dad was talking about.

"From Shock Theatre to Svengoolie" is a needed part of the history of Chicago TV and Lake Claremont Press respectfully published a book others might take a pass on and remains a respected leader in local publishing of Chicago history. Well edited, designed and expanded in part by a solid and varied reference section which includes a solid list of films shown (and reviews), a heartfelt "Collector's Corner" with additional reviews, and a resource guide on where to find your horror needs - that alone would stand to qualify the book as a great resource; but yes - there's more.

The book is factual and warm about the subjects themselves - with wonderful chapters on characters such as Marvin and the curvacious and faceless "Dear" of Shock Theatre to Jerry Bishops "Svengoolie" concluding with the story of how Rich Koz's "Son of Svengoolie" became "Svengoolie" in his own right.

The book doesnt mince words. The Ghoul from Cleveland gets a chapter - and in that chapters lies the great story of the loyality of Chicago to it's city and to its broadcasters. That chapter alone made me smile - unfortuantely at an outsiders expense.

The book covers some obscure local attempts to compete against established programs as well - which goes to the detail the authors provided.

And then there was Sven.

While you can watch Jerry Bishop and Rich Koz on YouTube as Sven as a resource; the chapters on Svengoolie are detailed and worth the read.

I grew up and continue to watch Rich Koz as Svengoolie now in Chicago - and through this book you realize Sven's program not only entertains through horror but is also the last of the real local efforts to fight to keep local television creative, relevant and accessible. Koz is an important throwback to Garaway and other early Chicago broadcasters and deserves the praise and critical rsearch the book compiled.

In this book you can see why Koz is important as a local celebrity - and is up there with dare I say Studs Terkel and Oprah as important local personalities - even though Koz would likely deny this endorsement. WCIU should be credited for keeping a great program such as Sven on the air when others might just put an episode of "Night Court" on instead...yeech.

I particularly enjoyed the attention to detail; with photos of the old newspaper and TV Guide advertisements of the programs. If you loved those programs as a child - before there were so many options on cable; those ads were critical in promoting the programs and the movies we grew to love.

The book is lavishly illustrated and well written and referenced, footnoted and resourced. Time, effort and true affection for the material went into this tome.

In a book like this - there is room to be melancholy - and the authors avoid that trap. Lamenting on the fact local television is in most cases just the news; and all of TV's creativity is left to the networks would be an easy place to go - but the book is upbeat and most importantly a joy to read.

You want Creature Features? The book has it. Marvin and Dear - yep; its here too. Screaming Yellow Theatre and all of Sven? Yep - that too.

Clearly highly recommended.

I would write more - but my family is ready, the popcorn is popped and Svengoolie awaits .....

I bought this book at a book signing at "Horrorbles". The authors are really nice guys. The book is a must for anyone even remotely interested in horror, it discusses in detail the various TV horror hosts broadcast from the Chicago area. Its covers the inception of TV horror hosts to the present. It also does a good job of showing the evolution of the TV horror show. The book is well written and offers so much insight, there is a not only a wealth of information but resources for any fan of horror. There are plenty of photos that will surely evoke pleasant memories of sitting in the dark watching "scary movies". Makes a good gift.

I LOVE THIS BOOK! IT'S COOL HOW THEY PUT THE SCRIPT IN THE BOOK.
I've seen the movie 5 times, and I can't wait until August 19th when it comes out! I'll be sure to be it.

It took 10 days for it to arrive, but it was worth the wait! I ordered used. But it was in perfect condition.

I've seen this movie 8 times, so it's just natural that I bought this book. The book cover was damaged, so I told amazon, and they sent me a new one, free of charge, within days! I love the pictures, they are amazing, and I love how the lyrics and script is included. This book tells the story of the movie with pictures. I also loved the behind the scenes information they had. This is a must-have for any die-hard Chicago fan.

If i could i would give this book more stars. This really captures the movie well. You need to buy, The Soundtrack & of course The Movie if you are a fan of the movie! Im only on page 37 and i just LOVE this book! To anyone who has not seen Chicago yet i say this to you "what the heck are you doing on your computer you chould be out going to see it"

I've been dying for this book to come out! Finally, I get it. I love it. I have to express my feelings for this great film, play and book. First of all...this is probably one of the most lavish musicals ever made. Second of all...if you have never seen the film, Do! Third of all...buy this book! It includes the complete screenplay (with some cuts from it) and an in-depth behind the scenes section with picutures of the 1975 Broadway play, the making of the film and real life "murderer's row."
If you love Chicago, buy this book! It rocks!

If you liked the movie (and, didn't we all?) you'll love this lavish, razzle-dazzle book. Some 183 eye-popping full color photos and illustrations are reminders of what a treat for the eyes this film is. It's hard to believe that pages can contain those glamorous larger than life screen figures - Renee Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah - but, they do with photographs that sizzle.

In his intriguing introduction Director Rob Marshall relates his fascination with Chicago: "I was fifteen when I first saw Chicago on the New York stage. After seeing the performance, I listened to the album over and over and loved this musical more than words can convey. For me, Chicago was Broadway. So it's a dream come true for me that I've come full circle, going from that little kid, the 15-year-old at the stage door, to directing this movie. Please forgive me for believing it's destiny."

Marshall goes on to explain both the difficulties and joys of adapting Chicago from stage to film.

An especially absorbing section of this volume is devoted to the genesis of Chicago which was originally based on a real murder which took place in the city of Chicago in the 1920s. A man was found shot to death in a car owned by Mrs. Belva Gaertner, a cabaret singer with two ex-husbands. At first the woman denied any knowledge of the crime but later admitted that the gun found in the auto was hers. To every question asked of her she replied, "I don't know. I was drunk."

It comes as no surprise that she was acquitted. Following this announcement she laughed, hugged her attorneys, and thanked the jury. You know what they say about truth being stranger than fiction!

Remember Ginger Rogers? She came on screen as Roxie Hart in 1942.

The book Chicago is filled with little known facts, such as for the film's closing number when Roxie and Velma shoot out lights to spell their names over 10,000 light bulbs were used to create the 20 by 30 foot wall of bulbs. And, find out how and where Rob Marshall auditioned Renee Zellweger.

There's no place like Chicago that toddlin' town, and there's no book like Chicago!

- Gail Cooke

What Else can be said. The book is awesome, you get to see not only the clay puppets but parts of the scenery, stroyboards, concept boards. I havent seen the movie yet, but cant wait to do so. For my students it has been a very interesting approach to Claynimation, now I just have to find the Wallace and Groomit videos to add it to my library.

Anyone who has the slightest interest in knowing how an animated movie is created will love "Chicken Run - Hatching the Movie." by Brian Sibley. Even the design of the book is whimsical in style and lush with color illustrations from the new movie as well as from other films from this animation house.

A lighthearted introduction written by Mel Gibson (who is the voice for Rocky in the movie) sets the overall tone for the book. In this overview there is a brief history of the animation process with some really slick photos of the British Aardman Studios that both Nick Parks and Peter Lord, the directors of "Chicken Run," help to put on the map with several Academy Award nominations for their past films.

Animation and story development is not just fun and games as one might think but envelops serious thinking and work. The book is sprinkled throughout with wonderful idea sketches, watercolor paintings, storyboards and outlines showing how script and plot ideas for "Chicken Run" were developed.

A wonderful chapter on the actual making of the physical characters gives an inside look into the art studio itself where molds, paint, and artists bring these figures made of a clay-like substance called plasticine into existence. In a chapter called "Making the Right Moves" Sibley details the various problems that animators had during production. Trying to give the human characteristics of anger, hate, love, fear, and happiness in front of the camera is a major feat in itself. The difficult task of lighting a scene along with making the miniscule movement of each figure to create the animated move almost sounds like torture. And when one realizes that the largest film shoot in one work way was a mere 26 seconds you wonder if it is. The animators say their work normally floats along on inspiration but at other times when they are tired, getting the job done becomes a matter of will. They are so involved with their work that it is only when the camera isn't running that they realize that they are only working with a lump of plasticine.

This book is definitely written for the connoisseur of animated films and filmmaking but children could also enjoy the "fun" illustrations from the movie, which are a large part of this publication.

The seriousness of this studio's filmmaking makes for some very interesting reading. A quote by one of the directors, Peter Lord, not only sums up the animation process but could be the kernel theme of this book. "We make films and by the way, they happen to be animated."

Ron Harmon rohar@msn.com

*

How did they do that?

"Chicken Run: Hatching the Movie" provides an engaging, behind the scenes examination of the workings at Aardman Studios, offering insight into the personalities and technologies that brought us Wallace and Grommit, as they work towards the completion of their first feature-length animated film.

There are plenty of photos from the final movie, but more importantly, the book is stuffed with the artifacts of the animation process- the sketches and drawings, storyboards and photographs that record the way the film was developed from idea to story to finished storyboard and characters.

The book stops short of offering specific timelines, technical details or recipes for plasticine, but the aspiring animator is given ample opportunity to read between the lines. There is a wealth of information and inspiration to be had; something to learn on every page.

Sibley's narrative follows Nick Park, Peter Lord and others as they discuss, revise, and rethink their ideas, meet with Hollywood moguls for the first time, hire and then change writers, and work their way through the transition from commercials and short films to producing a two-hour, animated movie.

The writing is open and lively, describing the time involved and the twists and turns in production as the storyline is developed and revised, characters and ideas introduced and then axed. This frank discussion of the creative process at work is perhaps the book's most valuable asset.

"Chicken Run - Hatching the Movie" is an ideal companion to Aardman's earlier book "Creating 3-D Animation".

One book gives a superb, do-it-yourself introduction the techniques and process of model animation, while the other provides an in depth study of the creative process in action during the production of a single feature.

Together, these books provide the most useful resources on claymation and model animation to date.

If you haven't seen Chicken Run you should go see it. It is a family movie in which their are chickens who try to escape from the farm where the live. They try to learn to fly, but they keep failing. If they don't escape soon they will become chicken pie. Can they learn how to fly or find a way to escape soon enough, or will they become chicken pie? Watch the movie and find out.

This is the most delightful book about the making of a movie I have ever read! The text is full of funny stories and interesting details about the process that went into hatching this chick flick!Being a published cartoonist myself, I found reading about the process the Ardman folks went through to be fascinating.Also good were the photos showing the different animators at work making the models of chickens and other assorted poultry items.This is a must for any fan of Ardman! Viva Wallace and Grommet! Viva Rocky the Rhode Island Red and his favorite chick, Ginger!You will not regret buying this book! Myke Feinman, publisher and cartoonist for Ink and Feathers Comics

This work contains the details of classic horrors. i.e.
- Phantom of the Opera
- The Magician
- Dr. Mabuse
- Frankenstein
- Dr. Jekyll and Mr. Hyde
- The Mummy and White Zombie
- King Kong
- Cat People
- Hauntings and Possessions

Photos by Boris Karloff, the Bride of Frankenstein and Son of
Frankenstein provide an historic dimension to the overall
presentation. Lesser horrors are included; such as, the Creature
from the Black Lagoon , The Mole People and Monster on Campus.
The photos of Fredric March and John Barrymore depict the
Dr. Jekyll and Mr. Hyde characters in all their glory. A first
edition rendition of this work will be treasured most by
horror enthusiasts. The cost is modest for the value provided.

i like a comedy and sports and ect..... then, i want to show your videos but you may not accept my opinion....uhm.....

Having owned this book since the first printing in 1975, I have used it as a guidance tool to track down and watch over the past 29 years the excellence that is horror films outlined in this book. The late author clearly has a firm grasp of the element of a successful horror film; i.e. lighting, timing, musical score (or lack thereof), delivery, etc., and contained within this volume are critically acclaimed classics as well as little known "nuggets" worth searching out, such as "Murder in the Zoo," "Strangler in the Swamp," and the last of the great horror films, "Night of the Demon." Since the book's release, many of the titles have become increasing accessible both in video and in DVD, which allow for a greater enjoyment by the classic horror audience. You won't find any of the latter day slasher, gore-fest "movies," but you will find a careful synopsis and examination of each film contained in this volume. My recommendations to watch after reading this book are: Night of the Demon, The Uninvited, The Devil Doll, and The Man Who Laughs (silent).

Having grown up watching classic sci-fi, horror and monster movies on Saturday afternoons, I couldn't wait to read this book. It's a well-researched, enjoyable history of Classic Horror Films, from the 20s through the Exorcist. Everson does a fine job of covering the well known films, as well as pointing out a few classic sleepers (e.g., Murders in the Zoo) If you love these films, this book is a must read. Lots of great photos as well!

Having grown up watching classic sci-fi, horror and monster movies on Saturday afternoons, I couldn't wait to read this book. It's a well-researched, enjoyable history of Classic Horror Films, from the 20s through the Exorcist. Everson does a fine job of covering the well known films, as well as pointing out a few classic sleepers (e.g., Murders in the Zoo) If you love these films, this book is a must read. Lots of great photos as well!

As a Southern historian I liked the book very much. However, I was and am confused about the hospital where the book began. It seemed to be Chimborazzo in Richmond as he was wounded at Petersburg. However, I thought later that it may have been in central North Carolina as he was traveling west toward the mountains. That was never explained and the map inside the cover helped very little. I felt the book dragged somewhat at times, but overall was excellent.

I also saw the movie and was pleasantly surprised that it was very good and stayed close to the book. I always have problems with movies and found two glaring errors and one significant omission. Nicole Kidman was dressed as a cross between a Gibson Girl of the 1890's and Miss Kitty of Gunsmoke. I never understand why they can't do the ladies' clothing correctly for the 1860's. Renee' Zelwiger was miscast as Ruby. She needed to be much bigger, fatter, and more country. Renee' comes off as a city girl trying to pass for a country woman. They should have had Jude Law go back and kill the guy with the women after he got loose from the chain gang, as happened in the book. Finally, the band was playing "Sittin' On Top Of The World". That song was not written until 1930. So much for historical research.

Avid fans of Charles Frazier's classic novel "Cold Mountain" novel who have followed its translation from book to film now have a keepsake coffee table edition celebrating the move, which is much more than a collection of movie photos. The novel "Cold Mountain" is the story of a pilgrimage, and in the same tone compliments Cold Mountain: The Journey From Book To Film, tracing the odyssey of the movie created by an English directory and his international team of filmmakers: a six-year odyssey. Yes, there are over 185 photos by a number of photographers - but there are also extensive references on pre-production, post-production, and analyses of how the film was created, adding a depth and dimension which elevates Cold Mountain: The Journey From Book To Film far beyond the status of mere coffee table embellishment.

I am a Cold MOuntain fan! I love the book! When I saw the movie, I was somewhat disappointed. Don't get me wrong; it is a great film, but it is so different from the book. When I rated the screenplay, I gave it three stars (out of five), because I felt it "violated" the book in so many ways. This book (Journey from Book to Film), however "redeems" the screenplay, because it explains and illustrates the process of adapting a book to film, and helps the reader understand why the movie "must" be different from the book. This is an absolutely beautiful and essential book for anyone who cares aqbout how the book became a film, and the end result. It is a lovely and well-done book. Highly recommended. By the way, you will want to read the novel again after seeing the movie and reading this book!

This is a beatiful book on the making of my second favorite film of the year, the first being The Return of the King. The book expolres the novel's journey fromm book to srcipt to screen and has over 180 lavish pictures and illstrations. I have not bought any other of these books from Newsmarket becasuse it did not really not what to expect. What i got was a grand expolarartion of what it takes to make a grand film like this. The Music was great in the movie and there is extenisve pages on the making of the soundtrack as well as 32 pages of beatuiful black and white photos taken on the set. If you love movies buy this book, it doesn't even really matter if you have seen the movie or not the book well just make you want to see it a lot more.

Anthony Minghella has become today's poet of images. His films are lyrical and very emotional. They are beautiful, always thoughtful and very touching. That's why I counted my lucky stars when I learned that Minghella would next adapt one of the best and most beautiful books I've ever read, Charles Frazier's Cold Mountain.

Could Mountain: The Journey from Book to Film takes you on the road that everyone involved with this film walked down. First, we meet Minghella and Frazier, as they both discuss the writing of the book and of the script. Then, we meet the producers, the set desingers, the cinematographer, the costume desingers, the actors, the editor... Everyone who played a major role in the making of this film is presented in this book.

I haven't yet see the film and cannot say if the greatness of the book translated well when it was taken to the silver screen. But judging from the interviews and the pictures in this film, I have to say that I don't think I'll be disappointed. The pictures in this book are beautiful and very attractive; you can already tell that this will be one heck of a film to look at (the pictures alone are the kind of visual candy you can't pry yourself away from). And then, the book also reprinted parts of Minghella's screenplay. And like we saw in his other films, The English Patient and The Talented Mr Ripley, Minghella really has a knack for writing engaging and touching dialogue.

Reading this book only made me want to see the film even more. It's rare that you are allowed to partake in this kind of journey, following a film's progress from point A to point Z. But this book brings you right into the heart of the film's production, discussing all the problems the crew faced, and telling us little annecdotes about the making of this film. Cold Mountain might not end up being the greatest film ever made (although I do wish it is), but I can tell, judging by this book, that it will be a great and very important film.

And not just funny--witty, colorful, inventive, slapstick, adventurous--and eagerly awaited. Here's an oversized, hardback, full-color, coffee table book chock-full and brimming with the art of the funny papers. Brian Walker, son of Mort Walker (Beetle Bailey), not only draws comics but also mounts exhibitions of them. This book includes hand-colored originals from the Museum of Cartoon Art, as well as full page Sunday layouts. From the Yellow Kid and Hogan's Alley at the turn of the century to the wartime wonders of the 'forties, this is a coffee table book you can't put down. Retailing at $50, Amazon's price is about $30--a bargain and a steal for such a beautiful volume. Also check out Walker's companion volume, The Comics: Since 1945.

Anyone who is interested in American comic strips and their creators must have this book in their library. It is by far the most comprehensive survey of the genre and the best source for reproductions of the comic strips discussed. While obviously limited by space considerations, Brian Walker has done an admirable job of showing at least one example of most comic strips of connsequence from the first half of the twentieth century. The rather disturbing insecurity demonstrated by some comic artists and other commentators in other recent books (Masters of American Comics and Cartoon America), who seem obsessed with their desires to have comic art classified as "fine art," is nowhere to be found in Brian Walker's essays on the subject. He rightfully accepts comic art for what it is and, by providing useful background information on the creators, helps the reader appreciate the obvious merits of this art. The color reproductions in this volume are also superior to those in the catalogue which accompanied the recent comic art exhibition. All those with a new found interest in comic strip art after visiting that exhibit would be best served by making this their first purchase from those books currently available on the subject.

Craig Englund

Many time book stores will sell gift books that are all fluff with no meat in them. This book (I am happy to state) is not one of them.


Broken up by decade you get a treasure trove of strips, some everyone knows and some obscure but beautiful (you will often find yourself wishing for more).

The text pieces are insightful and the strips themselves both are chosen for the classic and the obscure.

Well worth it for the Amazon price!!!

This is a wonderful book for anyone who has followed the Comics,Strips,Funny Papers,Cartoons,or whatever you want to call them.
I was born in 1935 and by the time I could read,I became addicted to the comics. I didn't consider it an addiction at the time,they were just something I loved to follow.
This book is really a set of two. The other is "The Comics Since 1945",also by the same author. I wrote a review on it on April 28,2005;and won't repeat what I said there. I am surprized that "Before 1945" was published in 2004 ,while "Since 1945" was published in 2002. Why in that order? Who knows. All the things I said in that other review also apply to this volume.
The two books are really a 2-volume set. If you read and want to own one;you'll want both.
Physically, the books are identical; 10"X13",each 336 pages,glossy hard cover with a selection of strips,lovely dust covers and each weighs about 4 pounds. The paper is of excellent quality and so is the printing,color reproduction and binding.The overall quality of the manufacturing simply
couldn't be better. One might think that these books are too large;but it takes this size to do the strips justice and readible.
These 2 books bring back so many memories to me of following the strips.
I have always been interested in the mechanics of the strips and the artwork and lettering.
One of the things that amazes me is that when the Comics were in their heyday;in the 1940's, everyone followed them. For instance;everyone knew who Dagwood and Blondie,Li'L Abner,Daisy Mae and the Yokums,Jiggs,Dick Tracy,Superman and a host of others were;and followed their stories and adventures.
The books give you a brief story about each of the Cartoonists,and a surprising idea of the earnings they enjoyed.In those days we didn't pay much attention to the creators.The strips were just there. However; there was always a big issue when your paper dropped your favorite.
Comics certainly don't have the broad appeal that they used to for several reasons. First,when the creator retired,the people who tried to continue it,just didn't "have it". Political correctness spelled the end of many strips. The really good strips were full of adventure,such as;Tracy,Red Ryder,Annie,Li'l Abner,Prince Valiant and so on. The introduction of romance and feminine strips changed what comic strips were all about and probably resulted in the loss of many readers.I know they never interested me.
My daily paper,the Toronto Star,has only one strip that I follow every day;that being Doonesbury. It hasn't even carried Dick Tracy for years;fortunately I can still follow it on the Net.
These books have excellent indexes and extensive notes providing all sortd of information for further reading.
If you enjoyed the Strips,you'll love these books.

Insider, Historian and Exhibition Curator of note, Walkers take on the Early Comics is naturally second to none ,gathered in a single volume; as a companion volume to the Comics Since 1945, unparalleled in its overview of a nearly 110 Year History of an American Original Art Form. A Must- Have for any Library on Popular Culture, and for any well-read Home Library.

A balanced look at a long time American Art form that does NOT criticize the Wide Range of various Talents who expressed , with satire, humor and foibles of American life with the big foot style ,as well as the adventure comic genres, including the noble, ignoble and everyday .

Without a doubt, a 10********** out of a 5 ***** possible!

A wonderful Holiday Gift for that Special Favorite Friend.

Mr. Shelton's book looks beyond the technical aspects of good media production and provides thoughtful and practical guidance on how to plan, shape and organize media presentations that will surprise, charm, inform and influence audiences. His emphasis is on informational rather than narrative media. At a time when we tend to be bedazzled and distracted by the remarkable technology now within easy reach we need frequent reminding that the idea is everything and that all that follows must be designed to deliver that idea to our intended audience forcefully, memorably and persuasively. This book will show producers of documentary, sponsored and informational films and other motion-media (Mr. Shelton's term) exactly how to proceed. Particularly valuable are the many examples, format samples, check lists and illustrations he includes. The Communication Analysis Plan is the best and most complete I have seen. This book can teach and encourage informational filmmakers who of late tend to be over-shadowed by our Hollywood brothers/sisters. The fact is, however, our productions can be equally creative, well-crafted and moving if we remember that most of the work needs doing long before we pick up a camera as we ponder and analyze exactly what is to be done, for what audiences, in what way, with what result. Shelton's book will certainly help. I recommend it highly for those who want to become better and more efficient information media producers and as a text book.

Whether you're a motion media professional or a student of visual communications, this book is a "must read" for you. The author - drawing on some forty years of experience as a successful information motion-media professional - writes with clarity and authority about both the theory and practice of communicating ideas through film, video, and multi-media. Shelton argues persuasively that the main objective of all information motion media is to influence the thought and behavior of the target audience, and that all the resources - creative and technical - that a motion media specialist has at his or her disposal must be directed toward that end. But he cautions that creativity used for its own sake may result in failed communications and a waste of the client's money. Building on this theme, the author elucidates an array of time-tested principles that he strongly advocates should be applied in the design and production of effective motion media. Not to be missed is an appendix featuring some fascinating "quotable quotes" that the author has collected over the years (though perhaps some individuals might consider having been quoted a dubious honor). In sum, there is no better book available on this topic, and I recommend it without reservations.

I strongly recommend S. Martin Shelton's book to practitioners of any profession seeking to influence the actions or thoughts of others through the power of media, be it through the written word or the transmission of images. As a Foreign Service officer I should have had this book 30 years ago. Though the focus of his book is film and video, his explanation and exploration of the principles of the communication process has application in all facets of interpersonal dealings. To cite but one example, this is especially true in the field of advertising--print, video, or radio. Much too often, media fails to motivate audiences to do what the sponsor has in mind, from the prosaic act of choosing between competing brands of toothpaste to such altruistic goals as inculcating healthful life choices. Such failure, as clearly expounded by Mr. Shelton, is in large part attributable to a growing lack of understanding of the underlying tenants of the art of communications. For one, the seductive explosion of technology's rapidly expanding capabilities has led to a shift in focus from communicating a message to enthralling with pixel glitz. Incorporating Shelton's ideas garnered and developed over years of practical experience and a background rich in theoretical knowledge, will improve significantly what we see and hear in our daily lives-bringing clarity to much of the "noise" surrounding us. Kenneth Albright, US Foreign Service (Retired)

This book is the distillation and compilation of the knowledge Shelton has gained from many years of experience in tehse fields. It is well written and his comprehensive knowledge of the field is evident. He is sometimes acerbic but his advice is heartfelt and should be of great value to beginnners as well as professionals in these areas. His "FUNDAMENTAL VERITIES OF INFORMATION MOTION-MEDIA" will be of particular usefulness as it is pithy and to the point. The book could well be used as a text in a college-level course. I recommend it unreservedly.

Dr. E. V. Ruhnke, Sr., Professor Emeritus, Texas A&M University-Kingsville

Mr. Shelton's book on filmic communication is an important breakthrough in the understanding of how and why films work with audiences. For the first time in the many years I've been in the profession I've found a book that tells me how motion media works and how to make it work. With masterful insight he analyzes the very foundation of my profession-how to use film and video to motivate our audiences, how to get them involved. To anyone in our profession or to any aspiring students, Shelton's book may well be the key to your success.