The North Face of the Eiger was long notorious as the most dangerous climb in the Swiss Alps, one that had claimed the lives of numerous mountaineers. In February 1966, two teams – one German, the other British–American – aimed to climb it by a new direct route. Astonishingly, the two teams knew almost nothing about each other's attempt until both arrived at the foot of the face. The race was on. John Harlin led the four-man British–American team and intended to make an Alpine-style dash for the summit as soon as weather conditions allowed. The Germans, with an eight-man team, planned a relentless Himalayan-style ascent, whatever the weather. The authors were key participants as the dramatic events unfolded. Award-winning writer Peter Gillman, then twenty-three, was reporting for the Telegraph, talking to the climbers by radio and watching their monumental struggles from telescopes at the Kleine Scheidegg hotel. Renowned Scottish climber Dougal Haston was a member of Harlin's team, forging the way up crucial pitches on the storm-battered mountain. Chris Bonington began as official photographer but then played a vital role in the ascent. Eiger Direct , first published in 1966, is a story of risk and resilience as the climbers face storms, frostbite and tragedy in their quest to reach the summit. This edition features a new introduction by Peter Gillman.
Listening After Nature examines the constructions and erasures that haunt field recording practice and discourse. Analyzing archival and contemporary soundworks through a combination of post-colonial, ecological and sound studies scholarship, Mark Peter Wright recodes the Field; troubles conceptions of Nature; expands site-specificity; and unearths hidden technocultures. What exists beyond the signal? How is agency performed and negotiated between humans and nonhumans? What exactly is a field recording and what are its pedagogical potentials? These questions are operated by a methodology of listening that incorporates the spaces of audition, as well as Wright's own practice-based reflections. In doing so, Listening After Nature posits a range of novel interventions. One example is the “Noisy-Nonself,” a conceptual figuration with which to comprehend the presence of reticent recordists. “Contact Zones and Elsewhere Fields” offers another unique contribution by reimagining the relationship between the field and studio. In the final chapter, Wright explores the microphone by tracing its critical and creative connections to natural resource extraction and contemporary practice. Listening After Nature auditions water and waste, infrastructures and animals, technologies and recordists, data and stars. It grapples with the thresholds of sensory perception and anchors itself to the question: what am I not hearing? In doing so, it challenges Western universalisms that code the field whilst offering vibrant practice-based possibilities.
A “wide-ranging and sophisticated anthology” comparing theaters of war to wars in the movie theater (Dennis Showalter, author of Patton and Rommel). Why We Fought makes a powerful case that film can be as valuable a tool as primary documents for improving our understanding of the causes and consequences of war. A comprehensive look at war films, from depictions of the American Revolution to portrayals of September 11 and its aftermath, this volume contrasts recognized history and historical fiction with the versions appearing on the big screen. The text considers a selection of the pivotal war films of all time, including All Quiet on the Western Front, Sands of Iwo Jima, Apocalypse Now, Platoon, and Saving Private Ryan—revealing how film depictions of the country’s wars have shaped our values, politics, and culture, and offering a unique lens through which to view American history. Named as a Choice Outstanding Academic Title
Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) has long been recognised as one of the key artistic expressions of the nuclear age. Made at a time when nuclear war between the United States and the Soviet Union was a real possibility, the film is menacing, exhilarating, thrilling, insightful and very funny. Combining a scene-by-scene analysis of Dr. Strangelove with new research in the Stanley Kubrick Archive, Peter Krämer's study foregrounds the connections the film establishes between the Cold War and World War II, and between sixties America and Nazi Germany. How did the film come to be named after a character who only appears in it very briefly? Why does he turn out to be a Nazi? And how are his ideas for post-apocalyptic survival in mineshafts connected to the sexual fantasies of the military men who destroy life on the surface of the Earth? This special edition features original cover artwork by Marian Bantjes.
The account of a life spanning almost sixty years of work in the film industry in England, Hollywood, India, and throughout the world. Peter Hopkinson joined Denham Studios as a clapper loader at 16 and quickly became a camera assistant, working with directors like King Vidor and Michael Powell, and stars such as Marlene Dietrich and Robert Donat. In 1940 he joined the army and, working for the British Army Film and Photographic Unit, helped to film the Battle of Alamein, allied landings in Italy, partisan actions in Yugoslavia and Greece and the Japanese surrender in Siam (Thailand), among many other assignments. After the war he became a director-cameraman, mainly for the March of Time newsreels, continuing to film from war zones and trouble spots, but also creating documentaries (many of them award-winning) that analysed life in peacetime: politics, scientific advance, social upheaval in the developing world and changing lifestyles at home. In later life he was hired by UNESCO to pass on his mastery of documentary film-making to a new generation of international youth at the Film Institute of India. In this book Peter Hopkinson presents not just an account of his own amazing life and work but a lucid and comprehensive history of the moving image itself, the supreme popular art form of our time. Includes more than 100 photographs. 'A history of the moving image told from the perspective of somebody who has experienced many of the major developments in the industry at first hand.' Melvyn Bragg (Controller Arts, London Weekend Television) "A real contribution to the literature of film in the 20th century." Raymond Fielding (Dean and Professor School of Motion Picture Television and Recording Arts Florida State University)
Hammer Horror's "Dracula" was released in 1958 to a mixture of shock, outrage and praise. Yet this version of the Dracula tale, directed by Terence Fisher, was a milestone both for British cinema and for the horror genre. It made an international star of Christopher Lee and confirmed Hammer Films as one of the world's leading purveyors of cinematic terror. Peter Hutchings reveals how Hammer's newly eroticized version of "Dracula" differs from its previous incarnations. He explores the film's symbolism and narrative structure, as well as its potent sexuality and controversial take on gender. Aimed at students of film and fans of the horror genre, this lively guide reveals the legacy which Hammer's "Dracula" has left to cinema.
The creators of Chicken Run and the Wallace & Gromit series share the inside story of their Oscar award-winning animation company. Aardman Animations was founded in 1972 by Peter Lord and David Sproxton. Joined by animator Nick Park in 1985, Aardman pioneered a quirky, lovable style of stop-motion animation and brought to life a string of unforgettable movies and television shows, including the highest-grossing stop-animated film of all time, Chicken Run. With A Grand Success!, Lord, Sproxton, and Park tell the 45-year history of Aardman. From their first short films, made on a lark on their kitchen table, to advertisements and music videos, A Grand Success! recounts the adventures and challenges of developing their own unique style, growing their business, working with famous actors, and conquering Hollywood, all while animating at 24 painstaking moves per second.
A cinematic legend: The making of Francis Ford Coppola's epic about Vietnam and the folly of war, based on unprecedented access to Coppola's private archives
For over 40 years, Aardman has entertained and charmed the world, creating memorable stories and timeless animated characters that have gone on to become household names – including Wallace and Gromit, Shaun the Sheep and Morph. But how did two teenagers experimenting with animation on an old kitchen table go on to create a world-class studio that conquered Hollywood? This is an intimate, revealing and funny behind-the-scenes story of Aardman, told in their own words by co-founders Peter Lord and David Sproxton and featuring Nick Park. The colourful account follows Peter and David’s extraordinary journey from their humble beginnings as penniless students, teaching themselves the craft of animation, and recounts the key moments that defined their careers and shaped Aardman into the British success story it is today. THIS STORY INCLUDES: KEY MOMENTS THAT SHAPED AARDMAN – their first professional commissions, developing iconic TV commercials, creating the most-played music video of all time and delivering a pitch to Hollywood legend Steven Spielberg. HOLLYWOOD GLAMOUR – What’s it like to work with big stars like Mel Gibson, Hugh Grant and Eddie Redmayne, and what goes on behind the scenes at the Oscars®? HIGHS AND LOWS – Winning awards and recognition worldwide for their work, and dealing with the heartbreak of shutting down a production. INSIGHTS into how two men who freely admit they are not at all business-minded managed to build a multi-million pound business. CONTRIBUTIONS from Eddie Redmayne, Timothy Spall, Tom Hiddleston and Hugh Grant. Foreword by Matt Groening.
A Liverpool boy from the same cohort as John Lennon, Paul McCartney and George Harrison, Peter Sissons was destined for great things. Then he was caught on the wrong side of rebel lines during the Nigerian Civil War and shot through both legs his blossoming career as a war reporter came abruptly to an end. But another door was about to open, and Sissons went on to guide a generation through every momentous event of the last forty-five years. Surprisingly funny, dramatic and often poignant, When One Door Closes is the bestselling story of Britain's most distinguished newsreader and reveals what he really thinks about the state of the British media, global affairs, Climategate and the workings of the BBC.
In the first coprehensive introduction to the nature and development of ethnographic film, Peter Loizos reviews fifty of the most important films made between 1955 and 1985. Going beyond programmatic statements, he analyzes the films themselves, identifying and discussing their contributions to ethnographic documentation. Loizos begins by reviewing works of John Marshall and Timothy Asch in the 1950s and moves through those of Jean Rouch, Robert Gardner, and many more recent filmmakers. He reveals a steady course of innovations along four dimensions: production technology, subject matter, strategies of argument, and ethnographic authentication. His analyses of individual films address questions of realism, authenticity, genre, authorial and subjective voice, and representation of the films' creators as well as their subjects. Innovation in Ethnographic Film, as a systematic and iluminating review of developments in ethnographic film, will be an important resource for the growing number of anthropologists and other scholars who use such films as tools for research and teaching.
Getting professional results out of today's portable studios is an art. In this book, top producer and engineer Peter McIan guides you step by step through the theory and practice of getting the most out of these remarkable machines. As you are introduced to the Why, What, and how of studio recording and production, you will find invaluable 'recipes' designed to show you how to 'push the envelope' of your portable studio's capabilities.
The Ubu film group, Australia's first experimental filmmakers and distributors. A reference for devotees of film, theatre, those interested in the arts, music and graphic design.
With a career spanning almost five decades, Orson Welles became--and in many ways still is--one of entertainment's biggest names. His temperamental vitality, his humor and his general theatricality contributed volumes to the American stage and movie screen. His concepts of lighting and staging brought a new era to American productions. Welles influenced an entire generation of directors. These interviews conducted between 2003 and 2005 record the reminiscences of 30 individuals who worked with Orson Welles in a professional capacity. Beginning with 1937 and his work in Mercury Theatre, it follows a selected few of many who were part of Welles's life up to his sudden death in October 1985. Including actors, editors, cinematographers, camera assistants and magicians, the work presents a rounded view of Welles's career and, to some extent, his personal life. Each interview is presented in question and answer format with occasional commentary inserted for context or clarification. Projects discussed include Welles's most notable (Citizen Kane and War of the Worlds) as well as others like Heart of Darkness and The Cradle Will Rock which never quite reached fruition.
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