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Bibliografías temáticas / Independent film-making / Libros

Libros sobre el tema "Independent film-making"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Chan, Amos. Behind Union City: The making of an independent film. London?]: Ziggurat Books International, 2012.

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2

Producing independent 2D character animation: Making and selling a short film. Amsterdam: Focal Press, 2003.

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3

Bay Area Video Coalition (San Francisco, Calif.). Mediamaker handbook: The essential resource for making independent film, video, & new media. San Francisco, CA: BAVC, 2000.

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4

Bay Area Video Coalition (San Francisco, Calif.). Mediamaker handbook: The essential resource for making independent film, video, & new media. San Francisco, CA: BAVC, 2000.

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5

Manal, Castro John y Mabalon Dawn Bohulano, eds. The debut: The making of a Filipino American film. Chicago: Tulitos Press, 2001.

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6

Silva, Raul Da. Making money in film and video: A handbook for freelancers and independents. New York: Prentice Hall Press, 1986.

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7

Copyright Paperback Collection (Library of Congress), ed. Life blood. New York: Kensington Pub. Corp., 2000.

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8

Putting the pieces together: The Graffiti model for indie filmmaking : a behind-the-scenes look at the making of Quality of life. New York: Soft Skull, 2006.

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9

The economic consequence of independent film making. Los Angeles, Calif: Arthur Andersen Economic Consulting, 1995.

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10

Simon, Mark. Producing Independent 2D Character Animation: Making and Selling a Short Film. Taylor & Francis Group, 2013.

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11

Simon, Mark. Producing Independent 2d Character Animation: Making and Selling a Short Film. Taylor & Francis Group, 2013.

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12

Howley, Sebastian J. one night to get it right: The making of an Independent film. CreateSpace Independent Publishing Platform, 2010.

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13

Martin, Reed. Reel Truth: Everything You Didn't Know You Need to Know about Making an Independent Film. Farrar, Straus & Giroux, 2009.

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14

Cajayon, Gene, John Manal Castro y Dawn Bohulano Mabalon. The Debut: The Making of a Filipino American Film. Tulitos Press, 2001.

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15

Easterly, Chris. Lawyers, Guns, and Money: A Brief Essay on the Making of an Independent Film. Independently Published, 2017.

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16

Gregory, Michael Steven. How To Produce Your Movie: A Complete Guide to Making an Independent Film for Market (Writers Market). Square One Publishers, 2007.

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17

Simon, Mark A. Producing Independent 2D Character Animation: Making & Selling A Short Film (Visual Effects and Animation Series) (Focal Press Visual Effects and Animation). Focal Press, 2003.

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18

Platte, Nathan. Making Music in Selznick's Hollywood. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.001.0001.

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Making Music in Selznick’s Hollywood explores the network of musicians and filmmakers whose work defined the sound of Hollywood’s golden age (c. 1920s–1950s). The book’s central character is producer David O. Selznick, who immersed himself in the music of his films, serving as manager, critic, and advocate. By demonstrating music’s value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick cultivated audiences’ relationship to movie music. But he did not do it alone. Selznick’s films depended upon the men and women who brought the music to life. This book shows how a range of specialists, including composers (Max Steiner, Dimitri Tiomkin, Franz Waxman, and others), orchestrators, music directors (Lou Forbes), editors (Audray Granville), writers, instrumentalists, singers, and publicists, helped make the music for Selznick’s films stand apart from competitors’. Drawing upon thousands of archival documents, this book offers a tour of American cinema through its music. By investigating Selznick’s efforts in the late silent era, his work at three major Hollywood studios, and his accomplishments as an independent producer (including his films with Alfred Hitchcock), this book reveals how the music was made for iconic films like King Kong (1933), A Star is Born (1937), The Prisoner of Zenda (1937), Gone with the Wind (1939), Rebecca (1940), Spellbound (1945), The Third Man (1948), and A Farewell to Arms (1957).

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19

Parreñas Shimizu, Celine. The Proximity of Other Skins. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190865856.001.0001.

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Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.

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