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Books on the topic 'Trick films'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Michalski, Jens. Alles Trick: Das grosse Lexikon des Animationsfilms der DDR. J. Michalski, 2005.

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2

DEFA-Stiftung. Puppen im DEFA-Animationsfilm: Puppets in DEFA animation films. Edited by Deutsches Institut für Animationsfilm Dresden. DEFA-Stiftung, 2006.

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3

Cheap tricks and class acts: Special effects, makeup, and stunts from the films of the fantastic fifties. McFarland & Co., 1996.

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4

Tōhō tokusatsu sōshingeki: Tōhō tokusatsu eiga zen 89-sakuhin ga makiokosu seiki no daikettō! Yōsensha, 2010.

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5

Daiē, Kabushiki Kaisha. Daiei tokusatsu eiga taizen: Daikaijū kūsō kessen Gamera tai Daimajin = Daiei tokusatsu movie chronicle. Kadokawa Shoten, 2010.

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6

Ganso kaijū shōnen no Nihon tokusatsu eiga kenkyū yonjūnen. Jitsugyō no Nihonsha, 2001.

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7

Boullay, Daniel. Le petit Albert, ou, Le livre des trucages au cinéma. Dreamland, 1998.

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8

Gojira, Mosura, gensuibaku: Tokusatsu eiga no shakaigaku. Serika Shobō, 2007.

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9

Andreyko, Marc. Trick 'r treat. WildStorm Productions/DC Comics, 2009.

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10

Disappearing tricks: Silent film, Houdini, and the new magic of the twentieth century. University of Illinois Press, 2010.

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11

Symposium on Silicon Nitride and Silicon Dioxide Thin Insulating Films (8th 2005 Québec, Québec). Silicon nitride, silicon dioxide thin insulating films, and other emerging diele[c]trics VIII: Proceedings of the international symposium. Edited by Sah R. E, Electrochemical Society. Dielectric Science and Technology Division., Electrochemical Society Electronics Division, and Electrochemical Society Meeting. Electrochemical Society, 2005.

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12

Symposium on Silicon Nitride and Silicon Dioxide Thin Insulating Films (8th 2005 Québec, Québec). Silicon nitride, silicon dioxide thin insulating films, and other emerging diele[c]trics VIII: Proceedings of the international symposium. Edited by Sah R. E, Electrochemical Society. Dielectric Science and Technology Division., Electrochemical Society Electronics Division, and Electrochemical Society Meeting. Electrochemical Society, 2005.

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13

Animated life: A lifetime of tips, tricks, techniques and stories from a Disney legend. Focal Press, 2012.

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14

Reel gags: Jokes, sight gags, and directors' tricks from your favorite films. Renaissance Books, 1998.

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15

Rayburn, Wright, ed. On the track: A guide to contemporary film scoring. Schirmer Books, 1990.

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16

Digital compositing for film and video. Focal, 2002.

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17

Lord, Rick M. A gaffer's perspective on independent filmmaking: Practices, techniques, and tricks of the trade revealed. Universal-Publishers, 2011.

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18

Giesen, Rolf. Künstliche Welten: Tricks, special effects und computeranimation im Film von den Anfängen bis heute. Europa Verlag, 2000.

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19

London College of Printing and Distributive Trades. BA Film and Video dissertation 1992: Thelma and Louise : power trick or power trip. LCPDT, 1992.

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20

Steve, Wright. Digital compositing for film and video. 3rd ed. Focal Press/Elsevier, 2010.

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21

Gate, Lions. Speed racer, the next generation: The fast track, the movie. Speed Racer Enterprises, 2008.

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22

No tricks in my pocket: Paul Newman directs. Grove Press, 1989.

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23

Solomon, Matthew. Disappearing tricks: Silent film, Houdini, and the new magic of the twentieth century. University of Illinois Press, 2010.

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24

Pisters, Patricia. Filming for the Future. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462980310.

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Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films-to say nothing of artworks and books. Filming for the Future offers an extended exploration of Van Gasteren's work and audio-visual world. Patricia Pisters introduces us to a filmmaker who always had his camera ready and was relentless in filming a wide range of topics and events of national and international importance. Fascinated by technology, deeply engaged with politics, and intensely occupied by the traumatic effects o

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25

The film director's bag of tricks: How to get what you want from writers and actors. Michael Wiese Productions, 2011.

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26

Hardin, Joel. Tracker: Case files & adventures of a professional mantracker. J. Hardin], 2004.

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27

Martha, Newbigging, and Krog Hazlitt, eds. Attack of the killer video book: Tips and tricks for young directors. Annick Press, 2004.

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28

Chamberlain, Richard. Shattered Love: A Memoir. Regan Books: an imprint of HarperCollins Publishers, 2003.

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29

Chamberlain, Richard. Shattered Love: A Memoir. Thorndike Press, 2003.

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30

Masuda Kōzō: Meijin ni kyōsha o hiita otoko. Nihon Tosho Sentā, 1997.

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31

ZnO bao mo zhi bei ji qi guang, dian xing neng yan jiu. Shanghai da xue chu ban she, 2010.

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32

Lexikon des Trick- und Animationsfilms. Schwarzkopf + Schwarzkopf, 2003.

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33

Video, Sesame Street Home. Sesame Street: Trick or treat on Sesame Street. 2017.

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34

1956-, Schenk Ralf, Scholze Sabine, Herrmann Jörg 1958-, Deutsches Institut für Animationsfilm Dresden., and DEFA-Stiftung, eds. Die Trick-Fabrik: DEFA-Animationsfilme, 1955-1990. Bertz, 2003.

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35

illustrator, Gilpin Stephen, ed. The classroom: Trick out my school! 2014.

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36

Hanaway-Oakley, Cleo. Machine–Humans and Body-Subjects. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0004.

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This chapter presents an alternative to the popular critical vein that sees Joyce’s Ulysses and early cinema as conveying a mechanical, impersonal view of the world. It is argued that Ulysses and certain genres of early cinema were engaged—naively or otherwise—in a revaluation of Cartesian dualism, involving the reappraisal of mind/body and human/machine binaries. The physical comedy of Bloom and Charlie Chaplin is analysed with reference to phenomenological ideas on prosthesis and the machine–human interface, while other genres of early cinema, such as Irish melodrama and trick films, are con

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37

Vehlken, Sebastian. Trick 17: Mediengeschichten zwischen Zauberkunst und Wissenschaft. meson press, 2016.

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38

Publishing, Cultural. Film Journal: Keep Track of the Films You Need to See and the Movies You've Seen. Independently Published, 2020.

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39

Keene, Carolyn. WRONG TRACK (NANCY DREW FILES 64): WRONG TRACK (Nancy Drew Files). Simon Pulse, 1991.

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40

Guarneri, Michael. Vampires in Italian Cinema, 1956-1975. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458115.001.0001.

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The book takes as its subject a corpus of thirty-three vampire movies made, distributed and exhibited during the peak years of film production in Italy, and certified to be of Italian nationality by state institutions such as the Italian Show Business Bureau and the Italian Film Censorship Office. Positioning itself at the intersection of Italian film history, horror studies and cultural studies, the book asks: why, and how, is the protean, transnational and transmedial figure of the vampire appropriated by Italian cinema practitioners between 1956 and 1975? Or, more concisely, what do the vam

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41

Martin, Lee. Track the Men Down. Thomas Bouregy & Company, 1993.

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42

The THIN blue line: Film sound-track. Nonesuch, 1989.

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43

Bell, Adam Patrick. Track 1. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0003.

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Fifty-three-year-old guitarist Michael is the figurative flag-bearer of learning anew in the digital age. Despite decades of experience making multitrack recordings at home and professionally, Michael found himself in unfamiliar territory when first encountering the DAW Ableton Live. Leaning on skeuomorphic design cues and refusing to be bound by the learning approaches that characterize “digital immigrants,” Michael clicked his way through frustration to discover the din of his dreams. Without the aid of a teacher in any sense of the word, Michael matter-of-factly summarized his learning appr

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44

Sohn-Rethel, Martin. Real to Reel. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9780993071768.001.0001.

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What happens when we watch feature films or television dramas? Many of our responses to moving-image fiction texts embody “realism” or “truth,” but what are we responding to, exactly, and how is our notion of reality or truth to be understood? For film and media students and makers of moving-image fiction in new digital forms, the question of how to get a more objective, rigorous handle on realism has never been more important. The author of this book brings a lifetime of teaching film and media to bear on developing a new approach to analyzing the “realism” of the moving image: a set of seven

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45

Hardman, Paul. Draw Animation: Equipment Set-Up*Basic Techniques*Tricks of the Trade (Draw). New Holland, 2007.

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46

Whitesell, Lloyd. Tricks of the Light. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.003.0008.

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This chapter turns to the other side of the coin—the failure of magical belief. Glamour conjures up a transfigured counter-reality and acts as a bridge to that imagined existence. But the entire symbolic edifice is built on fancy and prone to collapse, with reality reasserting itself and dragging us back from our projection into the dreamworld. Many film musicals warn against glamour as mystification or deceit. Four types of examples are discussed, each skeptical in a different way (joking, haunted, wishful, manipulative). Concluding discussion shows how the musical genre has affinities with t

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47

Keene, Carolyn. Nancy Drew Files Collector's Ed (Wrong Track/nobody's Business/running Scared). Simon & Schuster Children's Publishing, 1998.

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48

On the Track: A Guide to Contemporary Film Scoring, Second Edition. Routledge, 2004.

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49

On the Track: A Guide to Contemporary Film Scoring, Second Edition. Routledge, 2004.

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50

performer, Murphy Walter 1952, Shire David performer, MacDonald Ralph performer, et al., eds. Saturday Night Fever: The original movie sound track. Paramount Pictures, 2017.

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