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Titre:
Reimagining cinema: film at Expo 67

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$39.95
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Résumé:
Reimagining Cinem explores the innovations that film and media artists offered Expo audiences and presents extensive visual material to reconstruct the viewer's experience.The book reflects how the Expo 67 film-events were encountered as creative experimentations that resonated with broader 1960s arts and culture, and as institutional collaborations with artists. More displays of photographic, cinematic, and telematic technology were experienced at Expo 67 than in any other previous world exposition. Reimagining Cinema captures the complexity and imaginative fervour of this exciting period in film history.

Titre:
The architecture of the screen

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$45.00
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Résumé:
With the birth of film came the birth of a revolutionary visual language. This book examines the relationship between the visual language of film and the onscreen perception of space and architectural design, revealing how film's visual vocabulary influenced architecture in the twentieth century and continues to influence it today.

Titre:
Corridor: media architecture in american fiction

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Résumé:
Corridor offers a series of conceptually provocative readings that illuminate a hidden and surprising relationship between architectural space and modern American fiction. By paying close attention to fictional descriptions of some of modernity's least remarkable structures, Kate Marshall discovers a rich network of connections between corridors and novels, one that also sheds new light on the nature of modern media.

Titre:
World film locations : Venice

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$19.95
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Résumé:
From one of the earliest mobile shots in film history — a voyage up the Grand Canal shot in 1896 — to classic depictions of the city like Summertime, Death in Venice, and Don’t Look Now, as well as recent big budget productions such as The Tourist, this book spans the history of filmmaking in Venice.

Titre:
World film locations : Vancouver

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$19.95
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Résumé:
World Film Locations : Vancouver offers insight into how so-called “runaway” productions from Hollywood use Vancouver as a stand-in for other locations and it highlights the work of Canadian filmmakers who deserve more attention. Thirty-eight analyses of different film scenes reveal the cinematic city in its myriad forms, while spotlight essays provide insight into the creativity and contradictions of Vancouver’s film industry throughout the ages.

Titre:
World film locations : Hong Kong

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$21.00
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Résumé:
As in the films of Wong Kar-wai and Johnnie To, readers will drift and dash through the streets of Central to the district’s periphery, almost recklessly, automatically, or for the sheer pleasure of roaming. The first of its kind in English, this book is more than a city guide to Hong Kong through the medium of film; it is a unique exploration of relationship between location and place and genre innovations in Hong Kong cinema.

Titre:
World film location : Prague

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$28.95
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Résumé:
Prague, the “Hollywood of the East,” has played an important role in the history of cinema and this publication traverses the city’s topography to examine an internationally diverse range of movies made in the Czech capital. Exploring legendary Prague landmarks as they appear onscreen — including the Charles Bridge, Old Town, Malá Strana, Liechtenstein Palace, Wenceslas Square, and Prague Castle — the book also discusses the intersection of the capital city and its cinematic representations; Prague and the Czech New Wave; the iconic Barrandov Studios; and the impact of political events such as the Prague Spring, the Soviet Invasion of 1968, and the Velvet Revolution on the city’s film industry.

Titre:
World film locations: São Paulo

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$27.95
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Résumé:
This book serves as an introduction to the city for film enthusiasts, visitors, and tourists while simultaneously opening scholarly debates on global concerns such as marginalization, rapid urbanization, and child poverty.

Titre:
World film locations: Barcelona

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Résumé:
World Film Locations: Barcelona explores the rich cinematic history of this seductive Catalonian city. The essays collected here cover essential themes of the city’s cinematic history, including the origins of cinema in Barcelona; the role of Ciutat Vella (old quarter) as a film set; the influential Barcelona School of the 1960s; the film presence of Gaudí and his work; changing attitudes and urban renewal before and after the 1992 Olympics; and the emergence of a new generation of female filmmakers that have made Barcelona the center of their cinematic explorations.

Titre:
Silent screens : the decline and transformation of the American movie theater

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$56.50
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Résumé:
The single-screen movie theaters that punctuated small-town America's main streets and city neighborhoods since the 1920s are all but gone. The well-dressed throng of moviegoers has vanished; the facades are boarded. In "Silent Screens", photographer Michael Putnam captures these once prominent cinemas in decline and transformation. His photographs of abandoned movie houses and forlorn marquees are an elegy to this disappearing cultural icon. In the early 1980s, Putnam began photographing closed theaters, theaters that had been converted to other uses (a church, a swimming pool), theaters on the verge of collapse, theaters being demolished, and even vacant lots where theaters once stood. The result is an archive of images, large in quantity and geographically diffuse. Here is what has become of the Odeons, Strands, and Arcadias that existed as velvet and marble outposts of Hollywood drama next to barbershops, hardware stores, and five-and-dimes. Introduced by Robert Sklar, the starkly beautiful photographs are accompanied by original reminiscences on moviegoing by Peter Bogdanovich, Molly Haskell, Andrew Sarris, and Chester H. Liebs as well as excerpts from the works of poet John Hollander and writers Larry McMurtry and John Updike. Sklar begins by mapping the rise and fall of the local movie house, tracing the demise of small-town theaters to their role as bit players in the grand spectacle of Hollywood film distribution. "Under standard distribution practice," he writes, "a new film took from six months to a year to wend its way from picture palace to Podunk (the prints getting more and more frayed and scratched along the route). Even though the small-town theaters and their urban neighborhood counterparts made up the majority of the nation's movie houses, their significance, in terms of revenue returned to the major motion-picture companies that produced and distributed films, was paltry." In his essay, "Old Dreams," Last Picture Show director Peter Bogdanovich recalls the closing of New York City's great movie palaces -- the mammoth Roxy, the old Paramount near Times Square, the Capitol, and the Mayfair -- and the more innocent time in which they existed "when a quarter often bought you two features, a newsreel, a comedy short, a travelogue, a cartoon, a serial, and coming attractions." While the images in Putnam's book can be read as a metaphor for the death of many downtowns in America, "Silent Screens" goes beyond mere nostalgia to tell the important story of the disappearance of the single-screen theater, illuminating the layers of cultural and economic significance that still surround it.