Books: 'Scree plot'

1

Karl, French, ed. Screen violence. Bloomsbury, 1996.

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2

Terrace, Vincent. Experimental television, test films, pilots, and trial series, 1925 through 1995: Seven decades of small screen almosts. McFarland, 2009.

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3

Lathrop, William Addison. Little Stories From The Screen. Kessinger Publishing, LLC, 2007.

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4

Lathrop, William Addison. Little Stories From The Screen. Kessinger Publishing, LLC, 2007.

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5

Moran, W. Reed. Why Plot Never Matters: Telling the Screen Stories in Your Heart. Kendall Hunt Publishing Company, 2015.

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6

Moran, W. Reed. Why Plot Never Matters: Telling the Screen Stories in Your Heart. Kendall Hunt Publishing Company, 2015.

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7

Screen Violence. Bloomsbury Publishing PLC, 1997.

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8

Moran, W. Reed. Why Plot Never Matters: Telling the Screen Stories in Your Heart - EBook. Kendall Hunt Publishing Company, 2015.

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9

Altschuler, Bruce E. Seeing through the Screen. The Rowman & Littlefield Publishing Group, 2017. https://doi.org/10.5040/9781978730939.

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Although films affect and reflect the way Americans look at politics, they have received far less attention than television or newspapers. This is changing, particularly on college campuses, where courses on politics and film are growing in popularity. This book consists of short essays on approximately fifty American political films. It is distinctive in two ways. Firstly, it defines politics broadly enough to include a range of films, not only on obviously political topics such as the presidency, congress, and elections, but also on the media, law and courts, war and peace, and a variety of policy issues. Secondly, it goes beyond plot and dialogue to discuss the language of film, including visual aspects, sound, mise-en-scène, and other ways that films communicate their messages to audiences. Each chapter begins with a brief introduction to the films included. The essays also explain the political context of each film and, when films are based on historical events, discuss the accuracy of their depictions. References to additional sources are included at the end of each essay. This book explores the extent to which films take on the political issues of the day and their influence on public perceptions of politics. Do films support the status quo or do they challenge it?

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10

Khoo, Gaik Cheng, Thomas Barker, and Mary Ainslie. Southeast Asia on Screen: From Independence to Financial Crisis. Amsterdam University Press, 2020.

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11

Southeast Asia on Screen: From Independence to Financial Crisis. Amsterdam University Press, 2020.

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12

Hark, Ina Rae. American Cinema of the 1930s: Themes and Variations (Screen Decades: American Culture/American Cinema). Rutgers, 2007.

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13

American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema) (Screen Decades: American Culture/American Cinema). Rutgers University Press, 2007.

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14

American Cinema of the 1960s: Themes and Variations (Screen Decades). Rutgers University Press, 2008.

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15

American Cinema of the 1960s: Themes and Variations (Screen Decades). Rutgers University Press, 2008.

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16

Friedman, Lester D. American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture/American Cinema). Rutgers, 2007.

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17

Friedman, Lester D. American Cinema of the 1970s: Themes and Variations (Screen Decades: American Culture / American Cinema). Rutgers, 2007.

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18

Chiffolo, Anthony F., and Rayner W. Hesse , Jr. Cooking with the Movies. ABC-CLIO, LLC, 2010. http://dx.doi.org/10.5040/9798216184850.

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Cooking with the Movies enables readers to recreate the fabulous meals depicted in 14 all-time favorite "food" films. Food has always been a key ingredient on the big screen, yet no book has ever been devoted to recreating the meals served in famous films. Now, for film buffs—and anyone else whose mouth has watered over on-screen culinary delights—there is the delicious Cooking with the Movies: Meals on Reels. Cooking with the Movies recreates featured meals from 14 noted films—including Babette's Feast, Big Night, Chocolat, Goodfellas, Tampopo, Titanic, and Tortilla Soup—that span a wide range of cuisines and cultures, from French to Mexican to Japanese. Each chapter provides the menu and full recipes for preparing and cooking the dishes depicted on screen, with photos of how each can be served. Along with precise directions, the authors analyze the importance of the foods served and the context of the meals in the storyline of the film. Illuminated with plot summaries, dialogue from the movies, and, when possible, interviews with actors or directors, Cooking with the Movies provides fascinating behind-the-scenes insights for ""foodies"" and film buffs alike. More information is available at www.cookingwiththemovies.com.

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19

Mitchell, Charles P. The Complete H. P. Lovecraft Filmography. Greenwood, 2001. http://dx.doi.org/10.5040/9798400629785.

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The influence of science fiction writer H. P. Lovecraft is widely felt in modern literature; authors from Robert E. Howard to Stephen King can claim him as their ancestor. But cinema too has seen Lovecraft's impact, and author Charles Mitchell offers here a comprehensive guide to the dozens of films that are representative of this influence. Mitchell studies the films in detail, analyzing the major Lovecraft elements and examining the fidelity of the films to the original works. Amateur films as well as television productions and foreign cinema, are included in Mitchell's scrutiny, revealing the challenge of transcribing Lovecraft to the screen, while at the same time suggesting the potential of Lovecraft's work for future, quality screen adaptations. In addition to plot summaries, entries for each film include annotated cast lists, critiques of actors' performances, the degree of fidelity to Lovecraft, and representative quotes from each film. This thorough work will be of interest to students of cinema as well as modern literature.

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20

American Cinema of the 1980s: Themes and Variations (Screendecades) (Screen Decades: American Culture/American Cinema). Rutgers University Press, 2007.

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21

The complete Inspector Morse: From the original novels to the screen. Titan Books, 2011.

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22

Westwood, Emma. The Fly. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325420.001.0001.

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It's not often that a remake outshines its original but David Cronenberg's “reimagining” of The Fly (1986) is one of those rare exceptions. Equal parts horror, science fiction, and romance, The Fly takes the premise of its 1958 original — a man unintentionally fusing with a housefly during an experiment in teleportation — and reinterprets the plot as a gradual cellular metamorphosis between these two organisms. This book teases out the intricate DNA of The Fly and how it represents the personalities of many authors, including a distinguished history of Man-as-God tales stretching back to Mary Shelley's Frankenstein (1818). Drawing from interviews with cast, crew, film commentators, and other filmmakers, the book interlaces the “making of” travails of The Fly with why it is one of the most important examples of master storytelling ever committed to screen.

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23

Boyd, Melinda. The Politics of Color in Oscar Hammerstein’s Carmen Jones. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0011.

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This chapter explores the politics of color in Oscar Hammerstein's Carmen Jones by focusing on the various layers of representation in its stage and film versions. Carmen Jones uses lyrics that adopt common clichés of Negro speech and equates Georges Bizet's sexually liberated gypsy in Carmen with a lower-class African American woman. After providing a background on the circumstances, precedents, and models that inspired Hammerstein's conception of Carmen Jones, the chapter considers Hammerstein's transformation of the plot and his text-translation practice, along with the opera's exoticism, stereotypes, and problematic representations of blackness and black Other. It then discusses the critical reception of Carmen Jones in light of the socioeconomic status and race of its 1943 audience. It also analyzes Otto Preminger's 1954 film version of Carmen Jones and how he was able to capture the spectacle of its Technicolor bodies on the big screen with the aid of CinemaScope.

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24

Cinema futures: Cain, Abel or cable? : the screen arts in the digital age. Amsterdam University Press, 1998.

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25

Van Riper, A. Bowdoin. Science in Popular Culture. Greenwood, 2002. http://dx.doi.org/10.5040/9798216011736.

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Spaceships travel through time at lightspeed, piloted by human clones and talking animals. Serious injuries are healed with the wave of a medical gizmo. The media makes it all look easy. Can scientists hope to accomplish such amazing feats in the real world, or are they merely flights of fancy? This book is a fun look at what can, and can't, be achieved with current technology in today's laboratory experiments. Fans of theJetsons,Star Trek, andStar Warswill learn the facts behind the fiction through entires that describe the scientific inventions and procedures on the screen, and how they differ from the reality. Van Riper shows us who innovators like Charles Darwin, Benjamin Franklin, and Isaac Newton really were before they were mythologized. He discusses how animals such as chimpanzees, dolphins, and elephants are portrayed in books and films, and what we really know about animal intelligence. This book lifts the curtain on science fiction, revealing how and where scientific laws have been discarded for the sake of a good plot.

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26

Pirates and seafaring swashbucklers on the Hollywood screen: Plots, critiques, casts and credits for 137 theatrical and made-for-television releases. McFarland, 1995.

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27

Caps, John. The Curse of the Pink Panther. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0012.

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This chapter describes how one chance meeting on the beach with Blake Edwards brought about a sea change in his career and, as a direct result, a return to the famous world of the Pink Panther. Return of the Pink Panther was planned for distribution in 1975, and the public was so very ready to be amused all over again by the Sellers/Clouseau character that the success of that sequel was followed the very next year by The Pink Panther Strikes Again. For Mancini, the task of scoring a Pink Panther movie had changed, too—the first film scored with that sly, sneaking sax theme and a lot of beguiling, equally sly cocktail music; the second film scored a bit more like a cartoon where the clever, plodding, main mystery theme on that wavering pump organ represented Clouseau's dysfunctional focus on the case at hand. Now with large-scale visual jokes taking up more screen space than the character comedy of Clouseau, the scoring needed to serve two masters: it needed scene-setting background tunes for clubs, discos, and resorts, and, more than ever, it needed bigger descriptive music to bolster the increasingly unrealistic and aggressive plot devices.

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28

The field of drama: How the signs of drama create meaning on stage and screen. Methuen, 1987.

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29

Paxman, Andrew. Enterprise, Profiteering, and the Death of the Golden Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190455743.003.0010.

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Under Presidents Alemán and Ruiz Cortines, Jenkins’s exhibition empire resisted attempts to rein it in, while Golden Age cinema died a slow death. Now in his seventies, Jenkins became a missionary capitalist, offering financing to friends. But his main activities were rent-seeking. He declared bankruptcy at his largest mills and used the ploy to sack workers and renege on company debts. In cinema his hegemony prompted a 1949 Film Law that promised screen quotas for Mexican films. Hollywood and Jenkins conspired to derail the quota. A second assault, in 1953, threatened expropriation and increased production subsidies. The threat vanished, and the subsidy apparatus fell under Jenkins’s sway. Was Jenkins the cause of cinema’s demise, as critics have alleged? Many were equally to blame: the state imposed a ticket-price cap, Hollywood product grew more sophisticated, producers inflated their budgets, and directors closed the doors of their guild to new talent.

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30

Hoffmann, Kay. Cinema Futures: Cain, Abel or Cable?: The Screen Arts in the Digital Age (Amsterdam University Press - Film Culture in Transition). Amsterdam University Press, 1998.

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31

Cohan, Steven. On Audrey Hepburn. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197668283.001.0001.

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Abstract Why should Audrey Hepburn still matter today? This book revises the contemporary view of Hepburn that sees her primarily as a fashion icon and style guru. It argues that her films, more than her biography or her likeness, are essential to understanding both her importance as one of the all-time major stars to emerge in Hollywood after World War II and her lasting popularity. On Audrey Hepburn examines her screen presence and persona while at the same time emphasizing her skill as an actress. While cognizant of the many contradictions inhering in her films, the book examines the liminality she represented in her comedies and musicals, demonstrating how her characters’ desiring and intelligence supply the primary motors of the plots, resist the films’ patriarchal template, and complicate her asymmetrical casting opposite older male stars. Moreover, Hepburn’s close relation with designer Hubert de Givenchy, which established her identification with haute couture, enabled her characters’ movement on-screen and was a basis for understanding transformation through fashion as a turning-point event in the narrative. This forged a pathway through spectacle for viewer identification with Hepburn’s difference, as symbolized by her unorthodox body, which the clothes did not disguise but amplified. On Audrey Hepburn, finally, examines her skillful performances in thrillers and dramas, studying her expert timing and use of props, her expressive face as it revealed interior emotions and thinking, her interaction with other actors in an ensemble, and the overall nuance with which she developed complex characterizations.

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32

Bail, Paul. John Saul. Greenwood Publishing Group, Inc., 1996. http://dx.doi.org/10.5040/9798400674631.

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This is the first book-length study of best-selling writer John Saul's psychological and supernatural thrillers. Author Paul Bail compares John Saul's novels to a cocktail: (mix) one part , one part The Exorcist, a dash of Turn of the Screw, blend well, and serve thoroughly chillingly. Bail traces John Saul's literary career from his 1977 debut novel Suffer the Children—the first paperback original ever to make the New York Times best seller list—to his most recent novel, Black Lightning (1995). It features detailed analyses of eleven of his novels. The study includes never-before-published biographical information, drawing an original interview with John Saul, and a chapter on the history of tales of horror and the supernatural and how these genres have influenced Saul's fiction. Each chapter in this study examines an individual novel. The novels are analyzed for plot structure, characterization, thematic elements, and their relationship to prior and later novels by Saul. In addition, Bail defines and applies a variety of theoretical approaches to the novels—feminist, deconstructionist, Freudian, Jungian, and sociopolitical—to widen the reader's perspective. Bail shows how John Saul enlarged his repertoire from stories of supernatural possession to science-fiction based horror. A complete bibliography of John Saul's fiction and a bibliography of reviews and criticism complete the work. Because of John Saul's great popularity among teenagers and adults, this unique study is a necessary purchase by secondary school and public libraries.

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33

Billheimer, John. Hitchcock and the Censors. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.001.0001.

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The Motion Picture Production Code controlled the content and final cut on all films made and distributed in the US from 1934 to 1968. Code officials protected sensitive ears from the standard four-letter words as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed ‘excessively lustful’ kissing from the screen, and ensured that no criminal went unpunished. Censors demanded an average of twenty changes, ranging from trivial to mind-boggling, on each of Alfred Hitchcock’s films during his most productive years. No production escaped these changes, which rarely improved the finished film. Code reviewers dictated the ending of’ Rebecca, shortened the shower scene in’ Psycho, absolved Cary Grant of guilt in’ Suspicion, edited Cole Porter’s lyrics in’ Stage Fright, and decided which shades should be drawn in’ Rear Window. Nevertheless, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming (and occasionally tricking) the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. The director’s priorities in dealing with the censors highlight both his theories of suspense and the single-mindedness of Code officials. Hitchcock and the Censors’ traces the forces that led to the Production Code and describes Hitchcock’s interactions with Code officials on a film-by-film basis as he fought to protect his creations, bargaining with Code reviewers and sidestepping censorship to produce a lifetime of memorable films.

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Books on the topic 'Scree plot'

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