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Books on the topic 'Live-action film'
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1
Reinhart, Mark S. The Batman filmography: Live-action features, 1943-1997. McFarland, 2005.
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2
J, Harris Thomas. Children's live-action musical films: A critical survey and filmography. McFarland, 1989.
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4
Felando, C. Discovering Short Films: The History and Style of Live-Action Fiction Shorts. Palgrave Macmillan Limited, 2015.
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5
mahoney, john. Xentropa Production Design Book: Live Action - Feature Film Design Book. Independent Publisher, 2021.
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6
Rosner, Meryl. Drawing with Dynamic Perspective: Art for Animation and Live-Action Film. Skyhorse Publishing Company, Incorporated, 2019.
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Rosner, Meryl. Drawing with Dynamic Perspective: Art for Animation and Live-Action Film. Skyhorse Publishing Company, Incorporated, 2021.
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8
The films of Tim Burton: Animating live action in contemporary Hollywood. Continuum, 2005.
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9
Abraham Lincoln on Screen: Live-Action Portrayals on Film and Television, 3d Ed. McFarland & Company, Incorporated Publishers, 2024.
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10
Directing the story: Professional storytelling and storyboarding techniques for live action and animation. Elsevier/Focal Press, 2008.
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11
Glebas, Francis. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation. CRC Press LLC, 2012.
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Glebas, Francis. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation. CRC Press LLC, 2012.
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13
Glebas, Francis. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation. Taylor & Francis Group, 2018.
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14
Carter, Liz. Tale of Beauty from Ashes: A Six Session Bible Study Based Around the Live Action Film 'Beauty and the Beast'. Independently Published, 2017.
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15
Beeler, Karin, and Stan Beeler. Animals in Narrative Film and Television. The Rowman & Littlefield Publishing Group, 2022. https://doi.org/10.5040/9781666984385.
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This book explores fictional representations and narrative functions of animal characters in animated and live-action film and television, examining the ways in which these representations intersect with a variety of social issues. Contributors cover a range of animal characters, from heroes to villains, across a variety of screen genres and formats, including anime, comedy, romance, horror, fantasy, and science fiction. Aesthetic features of these works, along with the increased latitude that fictionalized narratives and alternative worlds provide, allow existing social issues to be brought to the forefront in order to effect change in our societies. By incorporating animal figures into media, these screen narratives have gained the ability to critique actions carried out by human beings and explore dimensions of both the human/animal connection and the intersectionality of race, culture, class, gender, and ability, ultimately teaching viewers how to become more human in our interactions with the world around us. Scholars of film studies, media studies, and animal studies will find this book of particular interest.
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Morris, Cameron. Live Die Repeat : Edge of Tomorrow Color by Number: Science Fiction Action Film Starring Tom Cruise and Emily Blunt Illustration Color Number Book for Fans Adults Stress Relief Gift. Independently Published, 2020.
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17
Duckett, Victoria. Nullius in Verba. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0002.
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This chapter challenges the notion that Sarah Bernhardt mouthed her lines on film due to her inability to act in a fittingly naturalistic way for film, and that her famous “golden voice” is brutally denied in a media that gives us the spectacle of an actress mouthing lines that we cannot hear. The chapter explains why an actress who was famous for her voice and gesture acts on silent film in terms of art nouveau acting, changes in visual literature, and the ongoing use of musical accompaniment—all of which allow us to reinterpret Bernhardt's relationship to the silent screen. It argues that Bernhardt's films record her gestural fame on the live stage, and that this fame was associated with her use of the spiral as a structuring device for action. It shows that the music that accompanied Bernhardt's films served the same purpose as it did on the live stage—to develop and expand the emotional resonance of her performance.
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Duckett, Victoria. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0001.
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This book interrogates Sarah Bernhardt's crossover from theater into film and what her films can reveal to us today. It contextualizes and explains Bernhardt's popular success on film, asking why audiences in the early twentieth century celebrated an actress on film who they might never have seen on the live stage. It also looks at the role that feminism plays in enabling us to make sense of Bernhardt's films. The book argues that Bernhardt's films do not offer proof of her theatrical stage action, and that their excessive theatricality are not evidence of her incommensurability with film but an unaccounted theatrical practice that reveals a different way of thinking about and relating to the cinema. It contends that Bernhardt's films challenge and change received ideas about what is and is not “cinematic”. Finally, it describes Bernhardt's film, with her as a protagonist, as a fluid and transformative art form. Bernhardt's association with art nouveau relates to her acting style—and beyond that to her lifestyle and to her very life itself.
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Children's Live-Action Musical Films: A Critical Survey and Filmography. McFarland & Company, 1990.
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20
Harris, Thomas J. Children's Live-Action Musical Films: A Critical Survey and Filmography. McFarland & Company, 2001.
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21
Discovering Short Films: The History and Style of Live-Action Fiction Shorts. Palgrave Macmillan, 2015.
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22
Digitaler Realismus: Zwischen Computeranimation und Live-Action. Die neue Bildästhetik in Spielfilmen. transcript Verlag, 2008.
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23
Brown, Noel. Contemporary Hollywood Animation. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474410564.001.0001.
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Until the 1990s, animation occupied a relatively marginal presence in Hollywood. Today, it is at the very heart of both the film industry and contemporary popular culture. Charting the major changes and continuities in Hollywood animation over the past thirty years, this groundbreaking book offers an authoritative history of Hollywood animation since the 1990s. Analysing dozens of key films, including The Lion King, Toy Story, Shrek, Despicable Me, Frozen and Moana, it examines the emergence of new genres and stylistic approaches, as well as the ongoing blurring of boundaries between animation and live-action. Identifying narrative and thematic patterns, and developments in industry and style, the book explores how animation in the United States both responds to and recapitulates the values, beliefs, hopes and fears of the nation.
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Telotte, J. P. Postscript. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190695262.003.0006.
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The postscript surveys a number of changes that can be found in the key SF memes and their treatment as animation moved into postwar film and television. It frames these alterations in terms of a question that is often asked about cartoons: whether they are simply harmless amusements or “instrumental” works that can motivate their audiences after the fashion that, many argue, the best SF literature does. The chapter chronicles a variety of postwar scientific and technological developments that would quickly appear in and become staples of both live-action and animated films, including rockets, robots, computers, and the space race. The popularity of these elements demonstrates the postwar persistence of the SF memes explored in the previous chapters and suggests how animation was working, much like SF literature, not only to familiarize audiences with the impact of science and technology, but also to make that impact less threatening and more acceptable to popular culture.
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Duckett, Victoria. Camille. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039669.003.0004.
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This chapter examines how Camille adapted and changed the speed, structure, and meaning of Sarah Bernhardt's live play. La Dame aux Camélias was a film made by the French Film d'Art in late 1911 and released to French, American, and English audiences in early 1912. In America, Canada, and Mexico, it was released as Camille and sold with Madame Réjane's Mme. Sans-Gêne on a states' rights basis as part of a double bill. With Bernhardt at the helm of Camille, cinematized theater became an art nouveau product par excellence. This chapter argues that Bernhardt's use of the spiral in physical action and her taste for oriental colors and objects is evidence of the broader impact that japonisme was having on the fine arts in France. It also contends that the different classes, generations, and national audiences that celebrate Camille are proof of Bernhardt's international fame just as they are evidence of her capacity to realize and express contemporary tastes and fashion.
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Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.
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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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Van Beuren Production: A History of the 619 Cartoons, 875 Live Action Shorts, Four Feature Films and One Serial of Amedee Van Beuren. McFarland & Company, Incorporated Publishers, 2020.
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28
Hickman, Roger. More Sondheim. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0017.
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Sondheim provided original music for five movies: one or more songs forThe Seven-Per-Cent Solution(1976),Dick Tracy(1990), andThe Birdcage(1996), and scores forStavisky(1974) andReds(1981). The two scores reflect divergent trends in this era. Warren Beatty’sRedsuses music sparingly, and Alain Resnais’sStaviskycontains a complicated score that reflects compositional trends of the 1930s. Sondheim’s songs for the other films are crafted to entertain and to further their respective stories. ForDick Tracy, Sondheim composed five songs; several accompany montages, others crosscut with live action, and two, both performed by Madonna, have multiple reprises. Among the latter is the Oscar-winning “Sooner or Later.”
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Setter, Shaul. Collectivity in Struggle. The Rowman & Littlefield Publishing Group, 2021. https://doi.org/10.5040/9781666987928.
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We live in a neoliberal regime that works to dismantle social institutions and eradicate forms of collective gathering. Over and against this state of affairs, Collectivity in Struggle revisits a crucial moment in recent history when the formation of collectivity sat at the heart of a radical emancipatory struggle and called for a creative endeavor, both artistic and political. The book examines two projects developed in the 1970s vis-à-vis the Palestinian revolt: Jean-Luc Godard's cinematic engagement with the Palestinian forces and Jean Genet's textual enterprise alongside them. Through an inverse reading that uncovers from the seemingly discrete and finalized artworks —Godard's film or Genet’s book—the process of their becoming, Shaul Setter explores the ways in which these projects portray and conceptualize the revolutionary stage of the Palestinian revolt, its abrupt end, and two different modes of prolonging it. Concentrating on their formal experimentation, their potentiality for collective enunciation, their conflicted positioning on the threshold of colonial European culture and the hidden Semitic languages inscribed in them—Setter claims that these two projects insist on the writerly aspects of revolutionary political action.
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Bradley, Ben. Darwin's Psychology. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198708216.001.0001.
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Darwin has long been hailed as forefather to behavioural science, and even more so nowadays, with the growing popularity of evolutionary psychologies. This is the first book to examine Darwin’s own extensive writings about psychological matters. It finds that Darwin’s fulcrum was the agency of living creatures—both in his psychology and in his theory of evolution. A careful reading of Darwin’s writings on topics from climbing plants to babies shows that no individual-based theory of evolution can explain everything about human action. The interpersonal domain, group-life and culture, are also key, whether we consider the dynamics of conscience, emotional expressions or the dramas of desire. For example, Darwin argues that the anatomy and physiology of evolutionarily ‘purposeless’ facial movements gain meaning through their perception by others. His explanation of blushing adds a layer of complexity to such recognition—my blush results from my perception of how you are reading me. A similar reflexive dynamic governs how Darwin understands sexual desire, conscience, the setting of social standards, and the place of culture in human agency. Testing the main plank of Darwin’s psychology—that a capacity for group-interaction underpins the most human aspects of human agency—has awaited contemporary research, being recently confirmed by film-studies of young babies. Darwin’s writings frame a surprisingly well-resourced arena for elaboration of a socialized, agentic account of how we and our fellow creatures live. Moreover, Darwin stands at the forefront of moves toward an evolutionary biology in which organisms lead and genes follow.
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Chambers, K. Dennis. The Entrepreneur's Guide to Writing Business Plans and Proposals. Praeger, 2007. http://dx.doi.org/10.5040/9798400646645.
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Entrepreneurs—and entrepreneurial companies—live or die by the quality of their plans and proposals. Whether it's to get funding for a new product line or business from a client, writing hard-hitting prose that answers essential questions and makes specific requests is an indispensable skill. Entrepreneur, ad man, and writing teacher Dennis Chambers shows how entrepreneurs can persuade people, through skillful writing, to pony up capital or contracts. This ability—which can be learned—is rare in today's media-saturated world. But it counts more than ever if an entrepreneur wants to make it over the magical five-year hump and on into lasting business success. Numerous examples and exercises ensure that entrepreneurs understand how the writing game is played—and that they play it well. Unfortunately, most don't play this game well. Most business writers mistakenly believe their task is to inform. They write to fill an information gap or to update the reader on a particular project. Or they write about what's important to them. What these writers do not take into account is that the speed of today's work world has reached overdrive. The typical reader simply doesn't have time to ponder dense, poorly organized information and intuit the appropriate action. And readers don't give a hoot about what's important to the writer—they want to know what's in it for themselves. Business writers need to use all the tools at their command to persuade, inspire action, and in general move a project forward. This book is about how to be persuasive in two key skills in business: writing proposals and writing business plans. Step by step, Dennis Chambers illustrates the techniques of effective business writing, with numerous examples throughout. Whether the objective is to secure financing from an investor, lay out a marketing strategy, or secure a large contract, getting results requires crafting an effective structure for the proposal, and using words that sell. Chambers is an able guide in saving entrepreneurs time and undue effort while reaching the goal of long-term business success.
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Hardin, Garrett. Living within Limits. Oxford University Press, 1993. http://dx.doi.org/10.1093/oso/9780195078114.001.0001.
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We fail to mandate economic sanity, writes Garrett Hardin, "because our brains are addled by...compassion." With such startling assertions, Hardin has cut a swathe through the field of ecology for decades, winning a reputation as a fearless and original thinker. A prominent biologist, ecological philosopher, and keen student of human population control, Hardin now offers the finest summation of his work to date, with an eloquent argument for accepting the limits of the earth's resources--and the hard choices we must make to live within them. In Living Within Limits, Hardin focuses on the neglected problem of overpopulation, making a forceful case for dramatically changing the way we live in and manage our world. Our world itself, he writes, is in the dilemma of the lifeboat: it can only hold a certain number of people before it sinks--not everyone can be saved. The old idea of progress and limitless growth misses the point that the earth (and each part of it) has a limited carrying capacity; sentimentality should not cloud our ability to take necessary steps to limit population. But Hardin refutes the notion that goodwill and voluntary restraints will be enough. Instead, nations where population is growing must suffer the consequences alone. Too often, he writes, we operate on the faulty principle of shared costs matched with private profits. In Hardin's famous essay, "The Tragedy of the Commons," he showed how a village common pasture suffers from overgrazing because each villager puts as many cattle on it as possible--since the costs of grazing are shared by everyone, but the profits go to the individual. The metaphor applies to global ecology, he argues, making a powerful case for closed borders and an end to immigration from poor nations to rich ones. "The production of human beings is the result of very localized human actions; corrective action must be local....Globalizing the 'population problem' would only ensure that it would never be solved." Hardin does not shrink from the startling implications of his argument, as he criticizes the shipment of food to overpopulated regions and asserts that coercion in population control is inevitable. But he also proposes a free flow of information across boundaries, to allow each state to help itself. "The time-honored practice of pollute and move on is no longer acceptable," Hardin tells us. We now fill the globe, and we have no where else to go. In this powerful book, one of our leading ecological philosophers points out the hard choices we must make--and the solutions we have been afraid to consider.
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Gordon, Edward E. The 2010 Meltdown. Praeger, 2005. http://dx.doi.org/10.5040/9798216955122.
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Ed Gordon marshals a vast amount of data to illustrate how various trends are converging to create a labor vacuum—with potentially disastrous consequences for economic competitiveness and individual opportunity. He sounds a wake-up call to business leaders, policymakers, educators, and concerned citizens, employees, and parents—anyone with a stake in our economic future. Moreover, he highlights innovative initiatives in training, education, and community development in the United States and around the world that can serve as models for positive action. Ultimately,The 2010 Meltdownis an optimistic book about social change, setting an agenda for reforms in education, policy, and business investment that will promote economic freedom, renewal, and prosperity. It's the economy, stupid, is a refrain the United States will never live down, and not without reason. The relentless march of technological development and globalization continues to put pressure on all national economies, providing opportunity for some and marginalization for others. Around the world, nations will need to overcome twin economic shocks: a wave of baby boomers will retire and leave the workforce, while too few young, well-educated people will be available to fill a rising tide of high-skill, technology-related jobs. Ed Gordon marshals vast amounts of data to illustrate how these trends are quickly converging, creating a labor vacuum—with potentially disastrous consequences for economic competitiveness and individual opportunity. In the United States, for example, major studies agree that the majority of the jobs now being created require skills possessed by only 20 percent of the current workforce; meanwhile, a large pool of under-trained workers are seeing their jobs exported to developing countries, automated, or outsourced, while millions of high-paying jobs, in such fields as engineering, computing, and health care are going unfilled. InThe 2010 Meltdown, Gordon sounds a wake-up call to business leaders, policymakers, educators, and concerned citizens, employees, and parents—anyone with a stake in our economic future. Beyond the demographic issues, he notes that such cultural factors as Wall Street's obsession with short-term results (which favors cost-cutting over long-term training) and neglect of math and science skills at school are contributing to a fundamental mismatch between labor supply and demand. But the news is not all grim. Gordon highlights innovative initiatives in training, education, and community development in the United States and around the world that can serve as models for positive action, and he outlines a plan for reversing the destructive trends before we reach a crucial crossroad by the year 2010. Ultimately,The 2010 Meltdownis an optimistic book about social change, setting an agenda for reforms in education, policy, and business investment that will promote economic freedom, renewal, and prosperity.
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Nelson, John S. Cowboy Politics. The Rowman & Littlefield Publishing Group, Inc., 2017. https://doi.org/10.5040/9781666993028.
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The politics of popular westerns are surprising in substance and significance, especially of late. Cowboy Politics shows how westerns in literature, cinema, and television face the challenges of Western Civilization even more than the perils of American frontiers. Its strategy is to compare key westerns with major theories of modern and postmodern politics. So it analyzes novels from Owen Wister to Zane Grey and Larry McMurtry. It focuses on films from the western revival beginning in the 1990s and featuring Clint Eastwood’s Unforgiven, while its interest in TV stretches from singing cowboys and Gunsmoke to David Milch’s Deadwood. Critics are apt to find in westerns the modern politics of Thomas Hobbes and John Locke. They tap devices of individuality, rationality, contract, sovereign enforcement, and representation to overcome the chaotic violence of a wild zone. Cowboy Politics examines how westerns often find such measures insufficient to tame the West as a culture of honor and anger that deteriorates into feud-al vengeance. Instead westerns see the West as the sunset land that is already growing old and moving on. So westerns seek fresh starts informed by comparing civilizations more than demonizing savages. Westerns worry that modern politics devolve into exploitation, oppression, spectacle, and terror. So they pursue supplements in such postmodern politics as republicanism, perfectionism, populism, feminism, and environmentalism. Especially westerns explore politics of persuasive speech-in-action-in-public, doing beauty, and self-reliance in the modes of Hannah Arendt and Ralph Waldo Emerson. The first two chapters of Cowboy Politics explain how westerns do political theory for popular audiences by making many of our myths: the symbolic stories of individuals and communities which we live daily. The next three chapters trace the initially modern theories of government in many westerns. Then western turns to republican honor, rhetoric, response-ability, and character tracking occupy the following four chapters. And these set the stage for another four chapters on western attention to postmodern terror, mythmaking, celebrity, spectacle, and forgiveness. The final two chapters analyze how “late,” “satirical,” and “transformative” westerns develop realist defenses for their surprisingly postmodern politics.