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Books on the topic 'ITO Films'

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Published: 6 September 2023

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1

Getting into films & television. 9th ed. Oxford: How To Books, 2009.

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2

Larson, Randall D. Films into books: An analytical bibliography of film novelizations, movie, and TV tie-ins. Lanham, Md: Scarecrow Press, 1995.

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3

Greek tragedy into film. London: Croom Helm, 1986.

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4

Modern Hebrew literature made into films. Lanham, MD: University Press of America, 2001.

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5

Richard, Vela, and Tibbetts John C, eds. Shakespeare into film. New York, NY: Checkmark Books, 2002.

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6

London, Mel. Getting into film. New York: Ballantine Books, 1985.

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7

Novels into film. Baltimore, MD: Johns Hopkins University Press, 2003.

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8

1945-, Spence Louise, ed. Writing himself into history: Oscar Micheaux, his silent films, and his audiences. New Brunswick, N.J: Rutgers University Press, 2000.

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9

Bowser, Pearl. Writing himself into history: Oscar Micheaux, his silent films, and his audiences. New Brunswick, N.J: Rutgers University Press, 2000.

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10

Leslie, Stratyner, and Keller James R. 1960-, eds. Fantasy fiction into film: Essays. Jefferson, N.C: McFarland & Co, 2007.

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11

Greek tragedy into film. London: Routledge, 2013.

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12

Greek tragedy into film. Rutherford: Fairleigh Dickinson University Press, 1986.

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13

Kenneth, MacKinnon. Greek tragedy into film. London: Croom Helm, 1986.

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14

Pongelli, Claudia. Family Firms into International Markets. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05398-6.

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15

The American West from fiction (1823-1976) into film (1909-1986). Jefferson, N.C: McFarland, 1990.

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16

Nicholas, Wilkinson David, and Price Emlyn, eds. Ronald Harwood's adaptations: From other works into films. [Isleworth]: Guerilla Books, 2007.

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17

Nejim, Ahmed. An investigation into ion implanted/irradiated polymer films. Salford: University of Salford, 1986.

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18

Chen, Yuping. Translating Film Subtitles into Chinese. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6108-1.

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19

Getting into film and TV. London: Saltcoats Publishing, 1994.

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20

Double exposure: Fiction into film. New York: Universe Books, 1985.

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21

Double exposure: Fiction into film. New York: New American Library, 1985.

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22

1954-, Lee Ang, Wang Hui-ling 1964-, Peng Neil, and Schamus James 1959-, eds. Two films by Ang Lee. Woodstock, N.Y: Overlook Press, 1994.

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23

Saim, H. B. A study of thick films of indium-tin-oxide (ITO) and the feasibility of using ITO for fabricating photovoltaic cells. 1985.

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24

Sanello, Frank. Reel V. Real: How Hollywood Turns Fact into Fiction. Taylor Trade Publishing, 2002.

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25

Niemi, Robert J. 100 Great War Movies. ABC-CLIO, LLC, 2018. http://dx.doi.org/10.5040/9798400605178.

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This book serves as a fascinating guide to 100 war films from 1930 to the present. Readers interested in war movies will learn surprising anecdotes about these films and will have all their questions about the films’ historical accuracy answered. This cinematic guide to war movies spans 800 years in its analysis of films from those set in the 13th century Scottish Wars of Independence (Braveheart) to those taking place during the 21st-century war in Afghanistan (Lone Survivor). World War II has produced the largest number of war movies and continues to spawn recently released films such as Dunkirk. This book explores those, but also examines films set during such conflicts as the Napoleonic Wars, the American Civil War, World War I, the Vietnam War, and the wars in Afghanistan and Iraq. The book is organized alphabetically by film title, making it easy to navigate. Each entry is divided into five sections: Background (a brief discussion of the film's genesis and financing); Production (information about how, where, and when the film was shot); Synopsis (a detailed plot summary); Reception (how the film did in terms of box office, awards, and reviews) and "Reel History vs. Real History" (a brief analysis of the film's historical accuracy). This book is ideal for readers looking to get a vivid behind-the-scenes look at the greatest war movies ever made.
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26

Conterio, Martyn. Black Sunday. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733834.001.0001.

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Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little literature dedicated to Mario Bava's Black Sunday (1960), and this work is the first single book dedicated to it. This book places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started the Italian horror boom. It considers the particularly Italian perspective on the gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch and considers how the casting of British 'Scream Queen' Barbara Steele was crucial to the film's effectiveness and success.
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27

Getting into Films & Television. 7th ed. How to Books, 2002.

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28

Getting Into Films & Television. 8th ed. How to Books, 2005.

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29

Hoel, Jon. Stalker. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348332.001.0001.

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This book examines Andrei Tarkovsky’s film Stalker, one of the most powerful science-fiction films ever made, with the goal of unraveling the film’s many intricacies, from its difficult production and inspecting its many cinematic elements. Included are examinations of composition and cinematography, the many philosophies, poetic and literary influences, and the enormity of its influence across the following generations. The film juxtaposes its speculative elements with a gripping tale of human fragility and introspection. It is as much a movie about the complexity of the human as it is the mysteriousness of the film’s labyrinthine landscape: the ambiguous Zone and its epicenter, the Room of Desire. Stalker challenges us to engage with film in a different way: taking the sensuous and the analytical viewers to task and presenting a narrative that is both deeply pessimistic and yet profoundly hopeful and embedded in a framework of the deepest and most sincere form of faith. The resulting experience is a film viewing unlike any the viewer has experienced before, irrevocably altering cinema forever.
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30

Hughes, Emily. Studying Talk to Her. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.001.0001.

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Talk to Her (2002) is a hugely rich and interesting, though ambiguous, film that met with both popular success and critical acclaim. The film won an Oscar for best original screenplay and has been hailed by some critics as Pedro Almodóvar's masterpiece. Yet like most of Almodóvar's films, little is clear-cut. The characters are complex and our affinity and empathy for them shifts throughout the film. This book provides an in-depth analysis of both the formal elements of the film (its narrative, genre, and auteur study) and the themes and issues it raises, discussing the social context of modern Spain and its old, traditional iconography; shifting attitudes towards gender; and, crucially, the film's uneasy, morally ambiguous depiction of rape and the spectator's reaction to it.
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31

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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32

Pink-Hayes, Rebekah. Films That Changed the World- an Insight into Subconscious Psychological Theories in Film. Lulu Press, Inc., 2009.

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33

Larson, Randall D. Films into books: Analytical bibliography of film novelization, movie and TV tie-ins. Scarecrow, 1995.

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34

Marsh, Leslie L. Brazilian Women’s Filmmaking and the State during the 1970s and 1980s. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037252.003.0002.

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This chapter examines the role of the Brazilian state in women's filmmaking. In 1969, the Empresa Brasileiro de Filmes (Embrafilme) came into being during the most repressive years of the military regime. Originally created to promote and distribute Brazilian films abroad, Embrafilme was charged to oversee commercial and noncommercial film activities such as film festivals, the publication of film journals, and training of technicians. By the early 1980s, Embrafilme had become a vital source for independent, auteur cinema in Brazil and helped secure—but not sustain—women's place in the Brazilian film industry. Once the government took on a more supportive role in the film industry, contemporary women filmmakers began participating in filmmaking; however, women filmmakers in Brazil have conflicting opinions about the state-led agency and its role in supporting their careers as directors.
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35

Wetmore, Kevin J. The Conjuring. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859265.001.0001.

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James Wan’s 2013 film The Conjuring appears on many critics’ best horror films of the decade lists and was rated R by the MPAA solely “for terror.” Allegedly based on the true story of the Perron family’s experiences in a haunted farmhouse in rural Rhode Island, the film comes from the files of pioneer paranormal investigators Ed and Lorraine Warren, and tells the story of how the Perron family came under supernatural assault from Bathsheba Sherman, a demonic eighteenth century witch, and how the Warrens investigated and eventually exorcised her. The book examines how Wan created the paragon of virtuosic, effective, terrifying haunted house movies, and then goes on to consider how the film plays with the idea of “a true story,” the role of religion in the film, how children’s games and toys are made the source of adult terror, how The Conjuring is a female-centered but not feminist film, and how the film spawned the “Conjuring Universe,” a growing series of half a dozen sequels, prequels, and related films. The Conjuring is an effective, good, old-fashioned horror film. It is genuinely scary and anxiety-inducing, greater than the sum of its parts and it is greater than its marketing campaign of “based on a true story” would seem to suggest. The book analyses the film on multiple levels and contextualizes it as a twenty-first century horror classic.
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36

Lamberti, Edward. Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.001.0001.

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Emmanuel Levinas’s ethical philosophy has had a significant influence on film theory in recent years. This book proposes a relationship between Levinasian ethics and film style. It argues that films can convey Levinasian ethics not just through their subject matter but also through their use of style. The book brings this relationship between ethics and style into a productive dialogue with theories of performativity, such as J. L. Austin’s speech-act theory, Jacques Derrida’s notion of originary performativity and Judith Butler’s reconfiguration of performativity within the socio-political sphere. It explores Levinas’s influence on film through the study of three directorial bodies of work: those of the Dardenne brothers, Barbet Schroeder and Paul Schrader. The book focuses on a range of films, including the Dardennes’ Je Pense à Vous (1992), La Promesse (1996), Le Fils (2002) and The Kid with a Bike (2011), Schroeder’s Maîtresse (1975), Reversal of Fortune (1990), Terror’s Advocate (2007) and Our Lady of the Assassins (2000) and Schrader’s American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008). In doing so, it demonstrates how films can perform a Levinasian ethics through different styles.
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37

Arzumanova, Inna. “It’s Sort of ‘Members Only’”. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.012.

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Teen dance films often follow a close formula that includes interracial romance, hip-hop dance, racial utopias, and allegiance to American exceptionalism. This chapter examinesSave the Last Danceas an example of these films, arguing that dance’s ability to render subject transformation through movement makes dance particularly conducive to utopian depictions of racial relations. In the film, dance transformation (from ballet to hip-hop) makes racial transformation possible. It is these choreographed racial transformations that reinforce narratives of U.S. exceptionalism and applaud white commitment to racial progress. As the film demonstrates, however, racial transformation is restricted to non-black characters only. This article focuses on the film’s choreographed racial (im)mobility, arguing that these depictions of transformation use dance as a mechanism to re-inscribe white privilege and secure a static antiblackness.
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38

Maslon, Laurence. A Few of My Favorite Things. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199832538.003.0010.

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The technology to reproduce a film’s soundtrack for home consumption didn’t arrive fully until the early 1950s; it was no surprise that the Capitol soundtrack recording to the 1955 film of Oklahoma! was the biggest seller of its day. Film soundtracks gave home listeners a second chance to hear their favorite scores and often, as in the case of West Side Story, the film soundtrack provided a new opportunity to discover the music (that soundtrack stayed longer at No. 1 than any album in history to this day). The performer who sold more soundtrack albums than anyone else in the 1960s was Julie Andrews, whose simultaneous recordings of the films Mary Poppins and The Sound of Music made her the most ubiquitous singer in pop culture.
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39

Massaccesi, Cristina. Nosferatu. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9780993238451.001.0001.

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Nosferatu: A Symphony of Horror, directed by German director Friedrich Wilhelm Murnau in 1922, is not only regarded as one of the most intriguing and disquieting films to have been produced during the years of Weimar cinema but is also a key step in establishing the vampire as a cinematic figure and in shaping its connection with our subconscious fears and desires. The book's analysis of this hugely influential film, unravels the never-ending fascination exercised by the film over generations of viewers and filmmakers whilst at the same time providing the reader with a clear guide about the film's contexts, cinematography, and possible interpretations, covering the political and social context of the Weimar Republic and its film industry, the German Expressionist movement, the film's production, reception and difficult initial release. The book also includes the results of a lengthy interview between the author and E. Elias Merhige, director of the Nosferatu homage, Shadow of the Vampire (2000).
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40

Whitehead, Kevin. Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.001.0001.

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This book—both a narrative and a film directory—surveys and analyzes English-language feature films (and a few shorts and TV shows/movies) made between 1927 and 2019 that tell stories about jazz music, its musicians, its history and culture. Play the Way You Feel looks at jazz movies as a narrative tradition with recurring plot points and story tropes, whose roots and development are traced. It also demonstrates how jazz stories cut across diverse genres—biopic, romance, musical, comedy and science fiction, horror, crime and comeback stories, “race movies” and modernized Shakespeare—even as they constitute a genre of their own. The book is also a directory/checklist of such films, 67 of them with extensive credits, plus dozens more shorter/capsule discussions. Where jazz films are based on literary sources, they are examined, and the nature of their adaptation explored: what gets retained, removed, or invented? What do historical films get right and wrong? How does a film’s music, and the style of the filmmaking itself, reinforce or undercut the story?
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41

Modern Hebrew Literature Made into Films. 2nd ed. University Press of America, 2006.

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42

Puttnam, David. Getting into Films and Television 9e. Little, Brown Book Group Limited, 2008.

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43

Puttnam, David. Getting into Films and Television 9e. Little, Brown Book Group Limited, 2009.

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44

Kord, Susanne. 12 Monkeys. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781999334000.001.0001.

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Terry Gilliam's 12 Monkeys (1995) was a commercial and critical success, but it is Gilliam's least understood film, even on the basic plot level. Aside from recognizable debts to specific films such as La Jetée (1962) and Dr. Strangelove (1964), 12 Monkeys plays with a number of genres: apocalypse and post-apocalypse movies, sci-fi, nuclear noir, and what is becoming known as “geek dystopia.” This book examines Gilliam's film — and briefly the TV series based on it — in the context of post-apocalypse movies and with an eye to the film's major themes, including mental illness, conspiracy theories, the impossibility of human closeness, and the nature of reality. It is the first to read 12 Monkeys' portrayal of time travel in light of Einstein's ideas about time and to ask what answers these ideas suggest to the film's most basic philosophical predicament: the problem of free will versus determinism.
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45

Jones, Stuart Blake, Richard H. Kallenberger, and George D. Cvetnicanin. Film into Video. Edited by Stuart Blake Jones. Routledge, 2000. http://dx.doi.org/10.4324/9780080506388.

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46

Literature into Film. Gale Cengage, 2008.

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47

Seewood, André. Screenwriting into Film. Xlibris Corporation, 2006.

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48

Seewood, André. Screenwriting into Film. Xlibris Corporation, 2006.

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49

Peterson's. Breaking into Film (Breaking Into). Peterson's, 1998.

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50

Kazemi, Farshid. A Girl Walks Home Alone at Night. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859203.001.0001.

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A Girl Walks Home Alone at Night analyses the eponymous film within three theoretical coordinates: vampire cinema, psychoanalytic (film) theory and German Idealism. The book situates the film in the history of the vampire genre through the spectral vampire in early German expressionist cinema (Murnau’s Nosferatu, 1922) and theorizes it as part of a transnational movement in Iranian films that represents ‘the uncanny’ between the two modes of ‘the weird and the eerie,’ theorized by Mark Fisher. The film is situated in relation to the history of Iranian horror films, as well as the female vampire’s evocation of the figure of the Nightmare in Iranian myth-folklore, and the cinematic vampire’s relation to Islamicate occult sciences. The book provides an intervention in second-wave psychoanalytic film theory (Joan Copjec, Slavoj Žižek) through a Lacanian reading of the film that analyzes the female vampire as ‘the return of the repressed’ of feminine sexuality, and as the Lacanian (traumatic) Real in female sexuality for the Shi’ite clerical order in Iran. The romantic love story at the heart of the film is theorized through ideas of central figures in German Idealism, such as Hegel and Schelling. The book establishes a relation between the female vampire and the spectral vampire by linking German Idealism and its deployment of metaphors such as phantasmagoria in early magic lantern projections. The book’s central theoretical intervention is an enactment of Freudo-Lacanian psychoanalytic theory and Hegelian dialectics that brings out what is hidden on the surface of the film’s textual unconscious.
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