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Books on the topic 'Film Four'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Film on Four (Television program) and Channel Four (Great Britain), eds. Film on Four 1982/1991: A survey. BFI, 1992.

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2

Betrock, Alan. From exploitation to sexploitation: Four decades of adult film posters 1930s-1960s from the collection of Eric Brad Panelle. Shake Books, 1992.

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3

The directors: Take four. Allworth Press, 2003.

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4

Story, Tim. Fantastic four. Twentieth Century Fox Home Entertainment, 2008.

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5

Rohmer, Eric. Hitchcock: The first forty-four films. Roundhouse Publishing, 1992.

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6

Brown, A. J. E. The conservation of four German film posters from the 1920s. Camberwell College of Arts), 1990.

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7

101 pieces of me: Four seconds of film changed her life for ever. Walker Books, 2015.

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8

Going to the movies: A personal journey through four decades of modern film. Dell Pub., 2001.

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9

Tōkyō Kokuritsu Kindai Bijutsukan Firumu Sentā., ed. Firumu Ākaivu no 4-tsu no shigoto: Kokusai Eiga Shinpojūmu (Tōkyō, 1990-nen) kiroku = Four tasks of Film Archives : records of the International Film Symposium, (Tokyo, 1990). Tōkyō Kokuritsu Kindai Bijutsukan Firumu Sentā, 1992.

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10

Laurent, Bouzereau, ed. The complete making of Indiana Jones: The definitive story behind all four films. Del Rey, 2008.

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11

Rinzler, J. W. The complete making of Indiana Jones: The definitive story behind all four films. Del Rey, 2008.

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12

Høeg, Peter. Agatha Christie: Murder in four acts : a centenary celebrationof 'The Queen of Crime' on stage, film, radio & TV. Virgin, 1990.

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13

Filo file for filophiles. Andesign, 1985.

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14

Agatha Christie: Murder in four acts : a centenary celebration of ʻThe Queen of Crimeʼ on stage, film, radio & TV. Virgin, 1990.

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15

Bill, Tony. Movie speak: How to talk like you belong on a film set : and get invited to the four-banger. Workman Pub., 2008.

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16

Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.

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Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.
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17

The way Hollywood tells it: Story and style in modern movies. University of California Press, 2006.

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18

Anzinger, Martina. Gainborough pictures reframed, or, Raising Jane Austen for 1990s film: A film-historic and film-analytical study for the 1955 films Sense and sensibility and Persuasion. P. Lang, 2003.

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19

Acting for film. Allworth Press, 2003.

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20

Barry, Tomalin, ed. Film. Oxford University Press, 2001.

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21

Bigourdan, Jean-Louis. Environment and enclosures in film preservation: Final report to the Office of Preservation, National Endowment for the Humanities. Image Permanence Institute, Rochester Institute of Technology, 1997.

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22

Bigourdan, Jean-Louis. Environment and enclosures in film preservation: Final report to the Office of Preservation, National Endowment for the Humanities. Image Permanence Institute, Rochester Institute of Technology, 1997.

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23

Pham, Annika. The film marketing handbook: A practical guide to marketing strategies for independent films. Media Business School, 1993.

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24

Walton, Saige. Cinema's Baroque Flesh. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089649515.

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In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.
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25

Herman, Warren N., Warren N. Herman, Steven R. Flom, and Stephen H. Foulger. Organic thin films for photonic applications. American Chemical Society, 2010.

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26

Bard Graduate Center: Decorative Arts, Design History, Material Culture, ed. Revisions-Zen for film. Published by Bard Graduate Center, 2015.

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27

Tarantino, Quentin. Four Film Pack. Faber and Faber, 1998.

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28

Gelfman, Jane R., George Garrett, and Hardison O. B. Film scripts Four. 2013.

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29

TBC. Film Four Guide Your Fav Film Scene. Pan Macmillan, 2000.

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30

Four Word Film Reviews. Adams Media Corporation, 2010.

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31

Allison, Anders, ed. Four rooms: Four friends telling four stories making one film. Miramax Books/Hyperion, 1995.

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32

Tarantino, Quentin. Four Rooms: Four Friends Telling Four Stories Making One Film. Miramax, 1995.

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33

Allison, Anders, ed. Four rooms: Four friends telling four stories making one film. Faberand Faber, 1996.

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34

Pym, John. Film on Four 1982/1991: A Survey. British Film Inst, 1993.

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35

Frolov, Andrei. Four Senses of Dante Aligheri in Film. Xlibris Corporation, 2002.

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36

Twenty Four Frames Under: A Buried History of Film Music. Quartet Books (UK), 1999.

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37

God in the movies: A guide for exploring four decades of film. Brazos Press, a division of Baker Publishing Group, 2017.

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38

Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.

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Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.
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39

P, Garrett George, Jane R. Gelfman, and O. B. Hardison. Film Scripts Four/Darling a Hard Days Night/the Best Man. 2nd ed. Irvington Publishers, 1989.

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40

Not to be missed: Fifty-four favorites from a lifetime of film. PublicAffairs, 2014.

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41

The Beatles Companion: The Fab Four in Film, Performance, Recording, and Print. Smithmark Publishers, 1992.

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42

Not to Be Missed: Fifty-Four Favorites from a Lifetime of Film. PublicAffairs, 2016.

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43

Authority, Inner London Education, and Royal Festival Hall. Foyer Galleries., eds. Art, the London Institute: The first of four exhibitions, art, design, fashion, film/video. ILEA, 1988.

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44

McFarlane, Brian. Four from the Forties: Arliss, Crabtree, Knowles and Huntington. Manchester University Press, 2018.

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45

Four from the forties: Arliss, Crabtree, Knowles and Huntington. Manchester University Press, 2018.

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46

Buhler, James. Neoformalism and Four Models of the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0005.

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Chapter 5 considers the topic of formal theories and models, starting with the movement of so-called neoformalism in film studies. It opens by examining Kristin Thompson’s manifesto for the analytical approach of neoformalism, David Bordwell’s use of an analogy to musicology to formulate a research program for film studies, and Noël Carroll’s account of how music serves to modify the narrative situation. The chapter then considers four models of how the music subsystem works in relation to the other subsystems of film: Kathryn Kalinak’s “working model” for film music; Nicholas Cook’s model of pairwise multimedia interactions that is useful especially for disentangling and assessing the claims of other theories of media interaction; David Neumeyer’s model of the integrated soundtrack; and Annabel Cohen’s intricate cognitive model of how film music is perceived.
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47

Comentale, Edward P. Four Elvises. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037399.003.0005.

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This chapter shows how the very deadliness of the commodity form—its radical detachment from any traditional context—ultimately extends the affective range and reach of popular music. It argues that the rock counterculture was founded not against, but through technological manipulation, commercial standardization, and consumer desire, and thus provided fans with new, more thrilling ways of inhabiting a national scene defined by market identities and taste cultures. Somewhere between Marcel Duchamp's arty toss-off and Elvis Presley's tossed-off art, a certain indifference comes to infect popular culture at large. In the end, this chapter focuses on the experiences and emergent sites of fandom, arguing that, with each cut, the King presented his body as an affectively charged and fully mediated public body and that, with records, radio, television, and film, his revolt extended—from one savvy fan to the next—across the body politic at large.
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48

Critical mass: Four decades of essays, reviews, hand grenades, and hurrahs. 2013.

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49

Høeg, Peter. Agatha Christie: Murder in Four Acts. Carol Pub Group, 1991.

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50

Verma, Neil. Radio, Film Noir, and the Aesthetics of Auditory Spectacle. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0005.

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This chapter discusses the relationship between 1940s radio and cinema. While classic noirs began to flourish at the cinema, most Americans listened to radio for about four hours a day over some nine hundred stations, most of which were affiliated with one of four large commercial networks that centralized content. During these years, drama formats were second only to music as the most common network offering in the evening; crime and mystery shows prospered especially well. Although constituting only 13 percent of evening drama in the mid-1930s, the category rose to 33 percent during the war, and by the 1950s crime stories could be up to half of all plays on air on a given evening. Seen in aggregate, noir on the radio adds up to tens of thousands of hours of material heard by tens of millions of listeners from 1937 to 1955, the most active years for auditory drama on American airwaves ever.
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