the big picture magazine: issue 1

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contents

Contents issue 01

Issue One. March 2009

The Big Picture ISSN 1759-0922 2009 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 1DEEditorial oce Tel. 0117 9589910 / [email protected] Masoud Yazdani Editor / Art Direction Gabriel SolomonsContributors Gail Tolley, Jez Connely, Richard Berger, Tony NourmandSpecial Thanks to Gabriel Swartland at City Screen, Zoe Naylor at theindependent cinema oce and Caroline Haywood at The Picture [email protected] / www.thebigpicturemagazine.com

March2009

Regulars04 / Reel LifeThe Rocky Statue

20 / One SheetRidley Scotts Alien

28 / 1000 WordsThe Trombone Shot

32 / On LocationVienna, Austria

44 / Parting ShotThe Great Train Robbery

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Features06 / SpotlightGreat Movie Smooches

14 / Art & FilmDrive-in Movie Theatres

24 / WidescreenSkyline Residence

40 / Art & FilmCindy Sherman

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Tough beansbuddy, causethats the way its

gonna be. Holly Golightly

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Philadelphia, Pennsylvania

Created by sculptor A.Thomas Schomberg , the Rocky statue wascommissioned by old SlyStallone himself in 1982 forRocky III and was donatedto the City of Philadelphia atthe completion of lming. Thegift caused quite a rumpusas debate raged about thestatues worth as art versusmovie prop, and whether theArt Museum location was themost appropriate.In 2006, the city found apermanent home for thestatue at the foot of EakinsOval next to the PhiladelphiaMuseum of Art steps (seeimage below), giving lm fansan opportunity to visit and

pose with the famous icon.The steps themselves havebecome the scene of endlessre-enactments, as thousandsof wannabe Rockys makethe climb and punch the airin victory. It all seems toindicate that the hardenedminds of the museums boardand management ultimatelycouldnt resist the appeal andinuence that Rocky Balboahas on the City of Philadelphia,its citizens and its visitors.Everybody now... Yo Rocko!

reel life

WHEN FANTASY BECOMES REALITY

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Rocky StatueHow Americas favourite underdog became onecitys symbol of triumph in the face of adversity.


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Although regarded as disgusting and scandalous andprompting demands for censorship, May Irwin and JohnRice re-enacted a lingering kiss in this 20-second longshort, from their 1895 Broadway stage play The Widow

Jones ; it was the rst lm ever made of a couple kissingin cinematic history.

truggling writer Paul Varjak (George Peppard) moves into aNew York apartment building and becomes intrigued by his pretty,uirky neighbor Holly Golightly (Audrey Hepburn). The intensitynd romance of this kiss is what makes it so iconic. Appearing rightt the end of the lm, this shot would later inuence a raft of lmsncluding When Harry Met Sally and Manhattan .

spot light

We all remember the ultimate thrill of that rstkiss with someone. The passion and excitementof the rst time your lips lock is never againrealized and is to be cherished. But what makesfor a memorable screen kiss? Is it the passion,the circumstances, the buildup, the dialogue orthe sexiness and eroticism? The images on thefollowing pages could be seen to tick one or all

of these boxes to become truly iconic.

MEMORABLE SCREEN KISSES

First ever screen kissThe Widow Jones

The romantic kissBreakfast at Tiffanys

FlamingLips


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Displaced astronaut-humanGeorge Taylor (CharltonHeston) kissed scientist-apeZira (Kim Hunter), followingthis dialogue, as they stoodnext to crashing waves on abeach: Taylor: Doctor, Idlike to kiss you goodbye.Zira: All right ... but youreso damned ugly!. Classic.

The standout scene of this Dangerous Liaisons remake in which KathrynMerteuils (Sarah MichelleGeller) amoral, bitchy,teen-vamp demonstratedher manipulative intentionstoward innocent CecileCaldwell (Selma Blair) byteaching her how to slow- andwet-kiss in the park .

Youve been married to aboy and an old man. Why nottry a husband of the right agewith a way with women? Areluctant kiss on Scarlettspart but one that nonethelessshows the passion that thesetwo (Vivian Leigh and ClarkGable) feel for each other.

This is whatyou were meantfor. None of thefools youve ever known havekissed you likethis, have they? Rhett Butler

The reluctant kissGone with the Wind

The same sex kissCruel Intentions

Cross species kiss

Planet of the Apes

spotlight

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spotlight

In one of the most romanticscenes ever lmed, richgirl Angela (Elizabeth

Taylor) and poor boy George(Montgomery Clift) confessa love for each other whiledancing together in a seriesof intimate full-face closeups.Their beautifully framedfaces ll the screen as theyembrace tightly and pledgethemselves to each other,caught up in an all-consumingrelationship over which theyhave no control.

The closeup kiss A Place in the Sun

or all its focus on a visitorrom outer space makingense of the earth, ET wasltimately a lm aboutolerance and love. Themeshat were never betterxpressed than when BertieDrew Barrymore) says heroodbyes to our intergalacticriend in the only way a sixear old child could with aeartfelt kiss on the nose.

The kiss of innocenceET The Extra Terestrial

While gang violence andage run riot in the slumsf Rio De Janeiro, aspiringhotographer RocketAlexandre Rodrigues) isearching for a way out. Inrare moment of youthful

enderness amid the chaos,Angelica (Alice Braga) a girlRocket is infatuated with butltimately cant have plantsloving kiss on his cheeks the pair enjoy a peacefulfternoon on the beach.

Kiss of salvation

City of God

ederico Fellini gave Anitakberg her greatest role

n La Dolce Vita , in which

he played the unattainabledream woman oppositeMarcello Mastroiannislayboy journalist in this talef decadent but empty excess.he kiss in the Fontana direvi crystalized Marcellosesire to escape into annfantile fantasy world withwoman that embodied the

reedom he so desired.

The eeting kissLa Dolce Vita

Ill go on loving you for aslong as I live.

Angela VickersLove me for the time I have

left. Then, forget me. George Eastman

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In a moment regarded asshockingly erotic by 1952standards, Deborah Kerrsmarried Karen Holmes andBurt Lancasters conictedSgt. Warden give in to theirforbidden desires by sharingan impassioned kiss in theHawaiian surf.

The forbidden kissFrom Here to Eternity


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theGreat

Out-doorsSceptics had long predicted the death of thedrive-in movie theatre. Television, creepingsuburbs and rising land values were all seen as

contributing factors to its slow decline. But aresurgence is underway with over 400 drive-in theatres currently doing good business. Photographer Carl Weese has been travellingthe country documenting both the fall and riseof this very American institution.

AMERICAN DRIVE-IN THEATRES

art& lm

The Van Del, Middlepoint, Ohio


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Pike Drive-in Theater, Montgomery, PennsylvaniaLong live the drive-InA marriage of two greatAmerican passions:automobiles and movies, thedrive-in ourished in the1950s as over 4,000 theatersshowed rst-run lms andappealed to everyone.Although the industry is justa glimmer of what it oncewas, a growing number of enthusiasts are ensuring thatt stays very much alive. So, it

seems that the drive-in is anAmerican icon that will nevercompletely fade perhapsbecause of its irresistableand enduring appeal, saysApril Wright (director of,Going Attractions: The Riseand Fall of the Drive-In asan American Icon ): If itwere just nostalgia, peoplewould come one night and

hey would go Okay, didhat, check that off the list,

Wright says. But its nothat. They are literally coming

every week, week after week.On a beautiful night, with thestars out, it is an experiencehat I think will survive.

To see more of Carl Weesesphotographic work and to enquireabout print purchases be sure to visit:www.carlweese.com

art&lm Carl Weese


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Mixing simple imagery with minimalist text, theposter for Alien oozed suspense and almost dared

the viewer to enter the cinema. In a regular featureexploring the world of lm poster art, Tony Nourmandfrom Londons Reel Poster gallery talks us through it.

one sheet

DECONSTRUCTING FILM POSTERS

MINIMALISM

When Alien was released in1979, a shrewd marketingapproach was adopted,building intrigue and suspensethrough the use of minimalistimagery and graphics. Thiscampaign of implied menaceis embodied in the Americanposter for the lm. PhilipGips simple artwork is hugelyevocative the green smokeoozing from the egg and thecage both suggest no escapefrom unimagined horrors.

WORDPLAY

Renowned designer SteveFrankfurt was responsible forthe lms legendary taglineIn space no-one can hear youscream. Frankfurt has a giftfor producing sound bitesthat capture the essence of alm in just a few words. Thetaglines that he has createdfor endless campaigns havebecome almost as famous asthe lms themselves. It wasFrankfurt who asked us toPray for Rosemarys Baby(Rosemarys Baby , 1968),reminded us that Everyfathers daughter is a virgin(Goodbye Columbus , 1969)

and breathed that X wasnever like this ( Emmanuelle ,1974). His tagline for Alien was equally effective,expressing the horror of thelm while giving nothingaway. This now infamous linehelped Alien become one of the most successful horrorlms ever made.

INTERPRETATION

In striking contrast to thecarefully choreographedAmerican campaign, thePolish poster (overleaf) wasa wonderfully bizarre takeon the title that bore littlebearing to the plot or monster.Poster artists working in theformer Eastern Bloc werefamous for their abstract andconceptual designs. Oftenthe artists were given onlya title and brief summary towork from and this, combinedwith a great deal of artisticfreedom, led to the creation of some of the most interestingand unique lm posters on

record. This poster is a greatexample of this tradition.The Hungarian poster(overleaf) is unusual in thatit was one of the only postersworldwide to reveal the alienitself and is a close depictionof H. R. Gigers own drawingsof his creation.

gofurther... [POSTERS] www.reelposter.com [DESIGNER] Philip Gip [ARTIST] H. R. Giger

insidethe

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Alien / Obcy (1979) / Art by Jakub Erol / Original Polish 37 x 26 in. (94 x 66 cm) Alien / A Nyolcadik Utas A Halal (1979) / Artist Unknown / Original Hungarian 65 x 45 in. (165 x 114 cm)


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February 2009 2

While most of us settle for widescreenplasma TVs and surround-sound systems,one Los Angeles residence high atop theHollywood hills pushes the home cinemaexperience into a whole new league.

Photographs by Benny Chan

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wide screen

PacicHeights

WHERE AND HOW WE WATCH FILMS


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Design Belzberg Architects

Hollywood, CaliforniaWith its beautiful slimlineappearance and unrivalledviews of downtown LosAngeles, Laurel Canyon andthe San Fernando Valley, theSkyline Residence could wellbe the setting of a scene froma Michael Mann lm.

The hilltop residence isthe brainchild of HagyBelzberg, chief architect atLos Angeles based BelzbergArchitects. Incorporatingsustainable design strategies,the property is a stunningmarriage of beauty andoriginality while allowing fora bit of fun in the form of awall that allows images to beprojected from a large plasmascreen indoors. We can onlyguess at the thrill experiencedwhile watching a movie inthis location, but imagine it tobe nearly as enjoyable as thesurroundings glimpsed afterthe end credits have rolled.

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The Trombone Shot:From San Francisco toMiddle Earth via Amity

Good ideas last.Thats really thepoint of them. If they didnt endurein some way, they wouldntbe good. In lm history,such good ideas could beisolated and constituted aspart of a convoluted history,whereby you could look backat a particular innovation andplot its evolution. But cinemaisnt like that. Rather thanseeing lm history as linear,

it should be viewed as a sortof continuum, whereby all thegood ideas co-exist and jostletogether in the same room,at the same time. In thisway, we can see how cinemastretches out and speaksacross the years, in constantconversation with itself.

One such idea was thecontra-zoom, or trombone-shot. Sometimes it is knownas the dolly zoom or theVertigo zoom giving us a

Jaws may have popularised the shot, butit was cameraman Irwin Roberts working

on Alfred Hitchcocks Vertigo who wouldintroduce audiences to the conta-zoom,and with it bring drama and suspensehurtling toward us like never before. Text by Richard Berger

1000 wordshint as to its origins. WhileAlfred Hitchcock was busyinghimself with his principleleads during the shootingof Vertigo (1958), he lefthis second unit in charge of effects. By now, the Hitch wasat the peak of his powers, afew years earlier having beensingled out as one of the rstauteurs by the inuentialCahiers du Cinema magazine.It would be a few yearsyet before his masterpiecePsycho , but it was thesecond unit camerman,Irmin Roberts, who cameup with a way of illustratingthe psychological feeling of vertigo from James Stewartscharacter, John Fergusonsperspective.

In principle, it seemedeasy, but in practice it meant

reconstructing a scale modelof the staircase that Stewartlooks down through the wellof, putting it on its side andthen having Roberts trackingback his camera on a longdolly, whilst pulling in on thezoom lens. The speed herewas crucial: too slow and itwould undermine the pace of the scene; too fast, and theaudience would feel dizzy.The idea was to set the zoomto adjust to the angle of theview as the camera moves.This creates a perspectivedistortion, in this case fromStewarts point-of-view,as the background seemsto shift. It became thememorable shot of the wholemovie and Hitch used theshot again in Marnie (1964).

A new generation of students in the US were nowstudying lm for the rsttime, particularly the work of the Cahiers writers. Throughthe subsequent nouvellevague lmmakers, theyrediscovered their own lmheritage as this new waveof French cinema reveredHitchcock, Howard Hawks,Orson Welles and John Ford.A seed had been plantedand the trombone-shotspread. Stephen SpielbergsJaws (1975) used it to greatpurpose, as the world swirlsaround Roy Scheiders Chief Brody sitting bolt uprighton Amity Beach as the sharkattacks the bathers. Themechanical shark, Bruce,famously didnt work, soSpielberg had to shoot around

it, his lm school learnt tricksand John Williams murkyscore subsequently going onto create the rst blockbuster.He left the shot alone afterthat, but as a producer hedidnt mind protg TobeHooper putting it to good usein Poltergeist (1982).

The success of Jaws made

The success of Jaws made thetrombone-shotsomething of a clich and itpermeated the1970s B-movieslike a virus...

the trombone-shot somethingof a clich and it permeatedthe 1970s B-movies like avirus, while a young QuentinTarantino took careful notes.Another alumni of the NewHollywood school was upnext: in Goodfellas (1990)Martin Scorsese proved thateven something now thoughtof as tired and old-fashionedcould be revitalized, and thatit was the context, ratherthan a supercial effect, thatreally gave the shot its power.The scene where Ray LiottasHenry Hill and Robert DeNiros Jimmy Conway sit inthe diner discussing theirbleak future, shows how outof touch these wise-guys are,as the slow lazy tromboneshot, over several minutes,shows the world around them

changing; a world they nolonger t into.Alienation and isolation

was also the theme of MathieuKassovitzs debut feature, La

MOMENTS THAT CHANGED FILM FOREVER

gofurther... Marnie (1964) / Jaws (1975) / Poltergeist (1982) / Scarface (1983)

Below James Stewart hangs on in Vertigo

Above Robert De Niro and Ray Liotta feel the heat in Goodfe


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gofurther... The Lord of the Rings (2003) / Kill Bill Vol.1 (2003)

Haine (1995). The lm wores references on the sleeve

with clear allusions to BrianDe Palmas Scarface (1983)

self the product of the NewHollywood and a remakef another proto-auteur,

Howard Hawks. La Haine ,hot in monochrome, used anlusionary real time device

o add urgency to its story of rban decay. The three leadharacters, all from differentthnic backgrounds, exist inhe grim Banlieue housingrojects on the outskirtsf Paris. Their eventualrrival in the centre of theity is framed in a yawningrombone-shot, which shows

he three young men atnce part of Paris and itsulture, but detached fromat the same time. It was

his paradox that Kassovitzwanted to portray and the

rench cabinet were allummarily dispatched ton early screening. So, thehot here acts as a metaphor

for the whole lm, takingScorseses lead via Vertigo this time, and not Spielbergs.

Perhaps Peter Jacksonhad both lmmakers in mindwhen he put his own spin onthe trombone-shot for hisThe Lord of the Rings: TheFellowship of the Ring (2003) .Again, its a slow zoom hegoes for, as Elijah WoodsFrodo looks down the longroad to Mordor. But theresis a shark here too, this timein the form of a Nazgul, thatis coming for him. Jackson,more a student of B-Moviehorror than the nouvellevague, seemed to be goingfor a way of conveying peril

and showing how the worldwas changing and reorderingitself around the fellowship a theme constant in J. R. RTolkiens source books.

Finally, it was the B-Movies that Tarantino waspaying homage to with his useof the shot in Kill Bill: Vol.1 (2003). This lm is stacked

The arrivalof the threeyoung men inthe centre of the city in LaHaine is framedin a yawningtrombone-shot,which showsthem at oncepart of Paris andits culture, butdetached fromit at the sametime.

Below Vincent Cassel, Sad Taghmaoui and Hubert Kound prepare for battle in La Haine 1000 words

full of references and thetrombone-shot gets a littlelost amongst all the otherdevices and stylistics. So, agood idea never gets old, its

just reworked in new ways,by new lmmakers; it servesto create the images weremember; its a uid shot,and doesnt work as a stillimage, but it still framessome of the most memorablescenes in cinema. [tbp]

FILMSPEAK DECODEDCahiers du Cinema was aninuential French lm magazinefounded in 1951 by Andr Bazin,Jacques Doniol-Valcroze, andJoseph-Marie Lo Duca.

Auteurs (French for author) is usedto describe lm directors who areconsidered to have a distinctive,recognizable style.Nouvelle vague (New Wave) Youngspirited French lmmakers ofthe 50s and 60s who were linkedby their rejection of classicalcinematic form and wanted toshake things up.

next issue... From silent to sound


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Top Location mapBottom Parliamentbuilding

Dir. Carol ReedUK, 104 minutesStarring Joseph Cotton, AlidaValli and Orson Welles

Often topping greatest lmever polls, The Third Man is aclassic from the glory days of lm noir that expertly blendsthe quirky zither music of Anton Karas and eerilybrilliant cinematographyof Viennas bombed outbuildings and undergroundsewers. The story of pulpnovelist Holly Martins whotravels to shadowy, postwarVienna, only to nd himself investigating the mysteriousdeath of an old friend, black-market opportunist HarryLime, makes for a lm thatholds up to endless repeatviewings.A bleak portrait of Vienna asa city divided but one whichperfectly underpins a storyfull of intrigue and mysteryunfolding in the shadows.

The Third Man(1949)

on location

Vienna AustriaIn a regular series, we take a l ook atthe lm locations which have playedan integral part in lending a lm itsauthenticity and particular character.First up - Vienna, romantic city on theDanube. Text by Gabriel Solomons

CAPTURING THE CITY ON SCREEN

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on location

V i e n n a A u s t r i a

Milos Formans deservedOscar winner is a rich taleof rivalry, revenge andredemption told in ashbackby Antonio Salieri - nowconned to an insane asylum.Salieri believes that Mozartsmusic is divine and wisheshe himself was blessed withthe composers talents. Whysuch a vulgar creature shouldbe favoured by God to be hisearthly instrument mystiesSalieri and only intensies hisdesire to take revenge.An imperious, lavish Viennaacts as the backdrop to astory which works alongsidethe period costumes and richcolour palette.

Dir. Milos FormanUS, 160 minutesStarring Tom Hulce andF. Murray Abraham

Amadeus(1984)

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A chance encounter on atrain sets off a passionateand intelligent romancebetween a young American(Jesse) and French student(Celine). The encounterincites intrigue, and Jesseprovocatively suggests thatCeline postpones her return toFrance and embarks insteadon a spontaneous expeditionto Vienna. In the course of their 14-hour relationship,the two share in their lovefor the unrehearsed andtheir appreciation for theunexpected as they explorethe city as well as each other.

SEE ALSOSissi (1955) First in a trilogy ofromantic lms about AustrianEmperor Franz Josephs meetingand falling in love with princessElisabeth of Bavaria. StarringGerman actress Romy Schneider.Mayerling (1968) Romantictragedy which traces the story ofCrown Prince Rudolf of Austriasclashes with his father EmperorFranz Joseph I and his violent deathwith his mistress, Baroness MariaVetsera. Stars Omar Sharif andCatherine Deneuve.

Dir. Richard LinklaterUS, 105 minutesStarring Ethan Hawkeand Julie Delpy

Before

Sunrise(1995)

on location

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40 | thebig picture March2009 41Untitled Film Still #21. 1978

The American artist Cindy Sherman has been one of the most widelyxhibited and discussed artists of

her generation. She rst attractedttention around 1980 with her black-nd-white Untitled Film Stills , in

which, employing sometimes elaborateostuming and staging, she assumed a

variety of female personas familiar fromAmerican and European cinema to callttention to the stereotyping of womenn lms, television and magazines.

mages courtesy of the Artist and Metro Pictures

art& lm

ARTISTS INSPIRED BY FILM

Screen Shots


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March2009 43

Untitled Film Still #48, 1979

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Gender IssuesThere is a familiarity toCindy Shermans UntitledFilm Stills which is hardto pinpoint but seemsunmistakably cinematic.We may not know the lm(impossible really as thelms dont actually exist),but the poses, locations andcomposition all combine toplay to our lmic frames of reference. Once we discoverthat the images arent liftedfrom a movie but ratherrepresent female stereotypes(that would later continuethemes of self image, beautyand aging), we are free toexamine them on a moreindividual and personal basisas you would a painting orsculpture, reading into themwhatever we choose. Eitherway, Shermans imagesare evocative as momentscaptured, similar to thosefrom actual lms, which lift usout of the ordinary and intothe realm of fantasy.

www.metropicturesgallery.com

rt&lm Cindy Sherman


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American Gangster (2007)Ridley Scott

Goodfellas (1995)Martin Scorsese

Considered to be the rst lm to use narrativesequence, The Great Train Robbery represented asignicant step in movie making. The nal shot of agun being red toward the camera had a profoundeffect on audiences. As cinema was in its infancy,many people who saw the lm thought that theywere actually about to be shot. This same imagehas been referenced numerous times by directorsas a respectful tip-of-the-hat homage.

THE SAME BUT DIFFERENT

parting shot imitation is the sincerest form of attery...

THE GREATTRAIN ROBBERY

EDWIN S.PORTER {1903}

The scene that had peopleliterally ducking for cover

BY MOLLY BENNETT

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Film Index

REFERENCE BOOKS

Complete A-Z Media and FilmStudies Handbook Vivienne Clark, Bill MalyszkoA thorough dictionary for lmenthusiastsGOOD FOR BEGINNERS ; ; ;; ;

The Cinema Book, 3rd Edition by Pam CookA comprehensive guide to

modern cinema including casestudies by leading lm scholarsGOOD FOR BEGINNERS ; ;; ;;

Film History: An Introduction David Bordwell andKristin ThompsonThe ideal reference book withdetailed and easily accessiblediscussions of lm theory andhistoryGOOD FOR BEGINNERS ; ;; ;; Film Studies Dictionary Steve Blandford andBarry K. GrantReference bridge betweentheoretical and technical textswith a complete referenceADVANCED STUDY ; ; ; ; ; Cinema Studies:The Key Concepts Susan HaywardA basic introduction to theory,directors and approaches along

with a whole host of otheressential pieces of informationADVANCED STUDY ; ; ; ; ; Teach Yourself Film Studies Warren BucklandA history of cinema, analysis ofgenres and directors, dicussionof techniques plus loads moreADVANCED STUDY ; ; ; ; ;

SPECIAL INTEREST

British Film Posters:An Illustrated History Sim Branaghan, Steve Chibnall rst complete history of thesubject which brings together avast array of posters from thegolden age of British CinemaGOOD FOR BEGINNERS;; ; ;;

Film Posters of the 60s,70s, 80s and 90s:An Illustrated History Tony Nourmand andGraham Marsh Great pictoral resource of lmposters from an archive based atthe Reel Poster Gallery in LondonGOOD FOR BEGINNERS;; ; ;; Stars: New Edition Richard Dyerdiscussion of star studies lookingat the signicance of stars in lmGOOD FOR BEGINNERS;; ; ;; British Cinema:A Critical History By Amy Sargeant presentation and discussion ofBritish cinema over the years byone authorGOOD FOR BEGINNERS;; ; ;;

Cindy Sherman:The Complete UntitledFilm Stills

by Peter Galassi Containing the full collection of69 photographs from Shermansinuencial image seriesGOOD FOR BEGINNERS;; ; ;;

American Drive-inMovie Theaterby Don & Susan SandersTracing the history, geography,and ideology of the Americandrive-in movie theaterGOOD FOR BEGINNERS;; ; ;;

March2009 47

Backpages

Rocky III (1982) Dir. Sylvester StalloneUnited Artistsg see page 5/6

Breakfast at Tianys (1961) Dir. Blake EdwardsParamount Picturesg see page 7

The Widow Jones (1896) Dir. William HeiseEdison Manufacturing Companyg see page 7

Gone With The Wind (1939) Dir. Victor FlemingMetro-Goldwyn-Mayer (MGM)g see page 8

Cruel Intentions (1999) Dir. Roger KumbleColumbia Picturesg see page 9

Planet of the Apes (1961) Dir. Franklin J. SchanerAPJAC Productionsg see page 9

ET (1982) Dir. Steven SpielbergUniversal Picturesg see page 10

City of God (2002) Dir. Fernando MeirellesBuena Vistag see page 10

La Dolce Vita (1960) Dir. Federico FelliniRiama Films (Italy)g see page 10

A Place in the Sun (1951)Dir. George StevensParamount Picturesg see page 11

From Here to Eternity (1953) Dir. Fred ZinnemannColumbia Picturesg see page 12

Alien (1979) Dir. Ridley Scott20th Century Foxg see page 18

Vertigo (1958) Dir. Alfred HitchcockParamount Picturesg see page 26

Jaws (1975) Dir. Steven SpielbergUniversal Picturesg see page 26

Goodfellas (1990) Dir. Martin ScorseseWarner Bros. Picturesg see page 27

La Haine (1992) Dir. Mathieu KassovitzCanal+g see page 27

The Lord of the Rings: TheFellowship of the Rings (2001) Dir. Peter JacksonNew Lineg see page 27

The Third Man (1949) Dir. Carol ReedLondon Film Productionsg see page 18/19

Amadeus (1984) Dir. Milos FormanWarner Bros. Picturesg see page 22/23

Before Sunrise (1998) Dir. Richard LinklaterCastle Rock Entertainmentg see page 23/24

The Great Train Robbery (1903)Dir. Edward R. RobinsonEdison Manufacturing Companyg see page 40

American Gangster (2007)Dir. Ridley ScottParamount Pictures

So youve read about the lms, now go watch them!

Backpages

Film Resources

FILM COURSESFOR THEORY

alking Pictures rice: 105 / 18-22 August

University of EdinburghAn opportunity to watch and

iscuss lms

ilm and Television History rice: 610 / Feb - Oct

Open Universityharting the history and impact

f lm on society

Understanding Film rice: 120 / 13 Oct - 13 March

University of Exeterxamining dierent lms

o broaden and further nderstanding of cinema

elevision Glossary ree / 60 min / BBC

An online crash course in tv ocabulary and terminology

opular Cinema and Audiences rice: 195 / 9 weeks

University of Cambridgeooking at the role of audience nd lm reception to popular inema

British Cinema in World War II rice: 204 / 29-31 Aug

University of CambridgeA focused course that dissects

lms from the period

iction into Film 95 / 10 meetings

University of CambridgeAdaptation

ilm and US Foreign Policy 214 / 17-21 April

University of Cambridgexamining how lm is viewed s both entertainment and ropoganda

he Evolution of theHollywood Musical

214 / 6-8 MarchUniversity of CambridgeAn examination of musicals

FILM COURSESFOR PRODUCTION

Intro to the Camera 287.88 / 2 daysRaindance Ltd.Contact Elliot GroveTel. 020 7287 3833A beginners introduction to working with a camera

99 Minute Film SchoolShort Course 30 inc VAT / 99 minRaindance LtdContact Elliot GroveTel. 020 7287 3833A beginners course that coversthe basics of shooting a lm. Just what it says on the tin then.

Summer Film School54 / 5 daysAberdeen CollegeContact Paul AddertonTel. 01224 612 063Learn the tricks of the trade to set you on your way to greatness

DV Camera Shooting Guides free / 50 min / BBCAn online BBC guide to working with DV cameras for beginnersand amateurs

Good Shooting Guide:the basic principles free / BBCAn online intro to the basic principles of shooting for beginners and amateurs

Television Glossaryfree / 60 min / BBCA short online crash course in tv terminology for beginners and amateurs

FILM BLOGS

www.cinematical.com An easy to navigate blog with awide variety of subjects covered

www.lmschoolrejects.com A wide variety of great featurescovering the world of lm

www.cinemastyles.blogspot.com great links to other blogs. Goodfocus on older lms

www.davidbordwell.net/blog blog from a leading lm scholar

www.rubbishlms.com cult classics that are so badtheyre good

davidjobe.blogspot.com about underground lmmaker

David Jove

www.uklmcouncil.org.uk/bloggood for lm-making support

lm.guardian.co.uk good place to start for beginnerslooking for friendly, informativewriting on lm

WEBSITES

www.raindance.co.ukThe company website that oersvarious lm courses

www.b.orgthe Brithish Film Institutesgreat directory for everythingmedia related

www.cinemedia.orgcollection of linksinternetslargest lm and media directory

www.britlms.comgreat resource for lmmakersand audiences with directoryof festivals, lmmaker info and

training and courses

www.cineuropa.orgsimilar to IMDB (but not quiteas good), the site includes lmproles, databases and news.Co-funded by the MEDIA PlusProgramme of the EuropeanCommission

www.eidc.comA nonprot organizationthat wants to link productioncompanies with the communitieswhere they lm

BOOKS ON FILM

The Story of Film Mark Cousins Good introduction to the subjectthat charts the evolution ofthe media through lms anddirectors of signicanceGOOD FOR BEGINNERS;; ;; ;

BFI Film Classics Various editorsIn-depth dissection of classic lmsGOOD FOR BEGINNERS;; ;;

Film Form & Culture Robert Phillip Kolker Breaks lm down into its variouscomponents to teach newcomersthe inner workings of the mediumGOOD FOR BEGINNERS;; ; ;;

Approaches to Popular FilmJoanne Hollows An introduction to popular lmand methods of analysisGOOD FOR BEGINNERS;; ; ;;

Film: A Critical Introduction,2nd edition Maria Pramaggiore andTom Wallis introduction and guide to writingabout and analyzing lmADVANCED STUDY ; ; ; ; ; Film Studies:

Critical Approaches John Hill andPamela Gibson ChurchGreat discussion of various lmtheories and approachesADVANCED STUDY; ; ; ; ;

A Companion to Film Theory Toby Miller & Robert Stam An introduction to the complexworld of lm theory. Only for thetruly committed!ADVANCED STUDY; ; ; ; ;

46 | thebig picture

Continue your journey into the wonderful world of moving pictures

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