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Relevant bibliographies by topics / Batman begins (Motion picture) / Books

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Books on the topic 'Batman begins (Motion picture)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Beatty, Scott. Batman begins: The visual guide. New York: DK, 2005.

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2

Beatty, Scott. Batman begins: The visual guide. London: DK, 2005.

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3

The art of Batman begins: Shadows of the dark knight. San Francisco: Chronicle Books, 2005.

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4

Christopher, Nolan. Batman Begins: The screenplay including storyboards and exclusive interviews. London, England: Faber & Faber, 2005.

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5

Nolan, Jonathan. The Dark Knight Trilogy The Batman Screenplays. New York City, New York, USA: Opus Books/Hal Leonard, 2012.

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6

Jesser, Jody Duncan. Christopher Nolan's Batman: The art and making of the Dark knight trilogy. New York: Abrams, 2012.

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7

Janine, Pourroy, ed. Christopher Nolan's Batman: The art and making of the Dark knight trilogy. New York: Abrams, 2012.

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8

O'Neil, Dennis. Batman & Robin. New York, NY: DC Comics, 1997.

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9

Batman returns: The official movie book. New York: Bantam Books, 1992.

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10

Sam, Hamm, ed. Batman. New York: Warner Books, Inc., 1989.

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11

Gardner, Craig Shaw. Batman. New York: Warner Books, Inc., 1989.

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12

Gardner, Craig Shaw. Batman. Esplugues de Llobregat (Barcelona): Plaza & Janés, 1989.

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13

Marriott, John. Batman: The official book of the movie. London: Treasure Press, 1989.

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14

The Batman Movie: The Essential Guide. New York, New York: Dorling Kindersley, 2017.

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15

O'Neil, Dennis. The official comic adaptation of the Warner Bros. motion picture Batman & Robin. New York, NY: DC Comics, 1997.

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16

Singer, Michael. the sucksiest movie: The suckiest batman movie every made. suckville: s a person who doesn't know the difference between sucky and good, n.d.

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17

O'Neil, Dennis. Batman: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1989.

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18

Friedman, Michael Jan. Batman & Robin. New York: Warner Books, 1997.

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19

Friedman, Michael Jan. Batman & Robin. New York: Warner Books, 1997.

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20

Friedman, Michael Jan. Batman & Robin. New York: Warner Books, 1997.

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21

Nicola, Pittam, ed. Christian Bale: The inside story of the darkest Batman. Dallas, TX: Benbella Books, 2012.

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22

O'Neil, Dennis. Batman forever: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1995.

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23

O'Neil, Dennis. Batman forever: The official comic adaptation of the Warner Bros. motion picture. New York, NY: DC Comics, 1995.

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24

The boy who loved Batman: A memoir. San Francisco, Calif: Chronicle Books, 2011.

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25

Cinema sheet music: A comprehensive listing of published film music from "Squaw Man" (1914) to "Batman" (1989). Jefferson, N.C: McFarland, 1991.

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26

The Dark Knight: Featuring production art and full shooting script. New York: Universe Publishing, 2008.

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27

Beatty, Scott, Ed Brubaker, Greg Rucka, Killian Plunkett, and Denny O'Neill. Batman Begins. Titan Books Ltd, 2005.

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28

Vaz, Mark Cotta. The Art of Batman Begins. Titan Books Ltd, 2005.

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29

various. Batman Begins: The Movie and Other Tales of the Dark Knight. Tandem Library, 2005.

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30

Forlini, Victoria. Batman Begins Stencil Activity Book: With Stickers. Batman Begins, 2005.

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31

Batman Begins: The Movie and Other Tales of the Dark Knight. DC Comics, 2005.

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32

Gardner, Craig Shaw. Batman. New York Warner Books 1989., 1989.

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33

Gardner, Craig Shaw. Batman. Macdonald, 1989.

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34

Singer, Michael. Batman Forever: The Official Movie Book. Arrow (A Division of Random House Group), 1995.

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35

Skaaren, Warren, and Bob Kane. Batman: The Novelization. Grand Central Publishing, 1989.

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36

Gardner, Craig Shaw. Batman: The Novelization. Audio Literature, 1989.

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37

Batman: The Novelization. Warner Books, 1989.

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38

Batman and Robin: Music from and inspired by the motion picture. Warner Brothers., 1997.

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39

Tripathi, Namrata. Peter Pan: The Adventure Begins (Peter Pan; The Motion Picture Event). Tandem Library, 2003.

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40

Friedman, Michael Jan. Batman and Robin. Time Warner Books UK, 1997.

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41

Cinema Sheet Music: A Comprehensive Listing of Published Film Music from Squaw Man to Batman. McFarland & Company, Incorporated Publishers, 2012.

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42

Goldsman, Akiva, and Bob Kane. Batman & Robin: The Novelization. Aspect, 1997.

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43

The Dark Knight: Featuring Production Art and Full Shooting Script. Rizzoli Universe Promotional Books, 2012.

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44

Batman's guide to being cool. Scholastic, Incorporated, 2017.

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45

Huber, Judith. Talking about MOTION in Middle English. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657802.003.0006.

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Chapter 6 begins with an overview of the language contact situation with (Anglo-) French and Latin, resulting in large-scale borrowing in the Middle English period. The analysis of 465 Middle English verbs used to express intransitive motion shows that there are far more French/Latin loans in the path verbs than in the other motion verbs. The range of (new) manner of motion verbs testifies to the manner salience of Middle English: caused motion verbs are also found in intransitive motion meanings, as are French loans which do not have motion uses in continental French. Their motion uses in Anglo-Norman are discussed in terms of contact influence of Middle English. The analysis of motion expression in different texts yields a picture similar to the situation in Old English, with path typically expressed in satellites, and neutral as well as manner of motion verbs being most frequent, depending on text type.

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46

True Myths of Arnold Schwarzenegger: From Pumping Iron to Governor of California. London, England: Bloomsbury Publishing Plc, 2004.

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47

Andrews, Nigel. True Myths of Arnold Schwarzenegger: The Life and Times of Arnold Schwarzenegger, from Pumping Iron to Governor of California. Bloomsbury USA, 2004.

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48

Holmes, Sean P. Ain’t No Peace in the Family Now. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037481.003.0007.

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This chapter focuses on new technology and its impact on acting as an occupation. It begins by describing how the advent of film transformed patterns of employment in the commercial entertainment industry. Returning to the theme of cultural hierarchy, it goes on to argue that even as the legitimate theater drifted toward the periphery of the nation's cultural life, the old theatrical elite continued to claim the right, through the mechanism of the Actors' Equity Association (AEA), to speak for the entire acting community. After examining working conditions in the motion picture studios, it turns its attention to the Equity campaign to organize the film industry, asserting that its architects were less concerned with negotiating a standard contract than with imposing their authority upon the men and women of the silver screen. The chapter argues that an overwhelming majority of motion picture actors reacted with hostility to what they saw as the AEA's attempt to “Broadwayize” Hollywood, interpreting it as a threat to their collective autonomy and a denial of the specificity of their work. By refusing to obey the strike call in the summer of 1929, they were declaring their independence from the traditions of the legitimate stage.

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