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Author: Samuel Fuller Publisher: Hal Leonard Corporation ISBN: 9781557836274 Category : Performing Arts Languages : en Pages : 612
Book Description
(Applause Books). Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One , The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street ; Underworld U.S.A. , a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor , which exposed the conditions in mental institutions; and White Dog , written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times ; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly ; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction
Author: Samuel Fuller Publisher: Hal Leonard Corporation ISBN: 9781557836274 Category : Performing Arts Languages : en Pages : 612
Book Description
(Applause Books). Winner of Best Non-Fiction for 2002 Award from the Los Angeles Times Book Review! Samuel Fuller was one of the most prolific and independent writer-director-producers in Hollywood. His 29 tough, gritty films made from 1949 to 1989 set out to capture the truth of war, racism and human frailties, and incorporate some of his own experiences. His film Park Row was inspired by his years in the New York newspaper business, where his beat included murders, suicides, state executions and race riots. He writes about hitchhiking across the country at the height of the Great Depression. His years in the army in World War II are captured in his hugely successful pictures The Big Red One , The Steel Helmet and Merrill's Marauders . Fuller's other films include Pickup on South Street ; Underworld U.S.A. , a movie that shows how gangsters in the 1960s were seen as "respected" tax-paying executives; Shock Corridor , which exposed the conditions in mental institutions; and White Dog , written in collaboration with Curtis Hanson ( L.A. Confidential ), a film so controversial that Paramount's then studio heads Jeffrey Katzenberg and Michael Eisner refused to release it. In addition to his work in film, Samuel Fuller (1911-1997) wrote eleven novels. He lived in Los Angeles with his wife and their daughter. A Third Face was completed by Jerome Henry Rudes, Fuller's longtime friend, and his wife, Christa Lang Fuller. "Fuller wasn't one for tactful understatement and his hot-blooded, incident-packed autobiography is accordingly blunt ... A Third Face is a grand, lively, rambunctious memoir." Janet Maslin, The New York Times ; "Fuller's last work is a joy and an important addition to film and popular culture literature." Publishers Weekly ; "If you don't like the films of Sam Fuller, then you just don't like cinema." Martin Scorsese, from the book's introduction
Author: Marsha Gordon Publisher: Oxford University Press ISBN: 0190269758 Category : History Languages : en Pages : 329
Book Description
Film is Like a Battleground: Sam Fuller's War Movies is the first book to focus on the genre that best defined the American director's career: the war film. It draws on previously unexplored archival materials, such as Fuller's Federal Bureau of Investigation files and WWII-era 16mm films, to explore the director's lifelong interest in making challenging, thought-provoking, and often politically dangerous movies about war. After establishing the roots of Fuller's cinematographic schooling in the trenches during World War II, including careful consideration of his 16mm footage of a Nazi camp at the end of that war, Film is Like a Battleground explores Fuller's first forays into hot war representation in Hollywood with the pioneering Korean conflict films The Steel Helmet (1951) and Fixed Bayonets (1951). This pair of films introduced Fuller to his first run-ins with the American political machine when they triggered both FBI and Department of Defense investigations into his political sympathies and affiliations. Fuller's cold war films Pickup on South Street (1953) and, though it veers into hot war territory, Hell and High Water (1954) are Fuller's responses to the political pressures he had now personally experienced and resented. A chapter on Fuller's representation of pre-American-invasion Vietnam in China Gate (1957) alongside his unrealized Vietnam war screenplay, The Rifle (ca. late 1960s), illustrates the degree to which Fuller's representation of war and nation shifted even as he continued to probe war's impossible contradictions. Film is Like a Battleground would be incomplete without a thorough exploration of the films depicting the war Fuller personally experienced and spent a lifetime contemplating, WWII. Verboten (1959), Merrill's Marauder's (1962), and The Big Red One (1980) demonstrate Fuller's representation of a morally justifiable war. Fuller's 1959 CBS television pilot--Dogface--offers a glimpse at one of Fuller's failed attempts to bring his WWII story into American living rooms. The book concludes with a chapter about a documentary film made late in the director's life that returns Fuller to the actual site of the Nazi's Falkenau camp, at which he discusses his experiences there and that powerful, unforgettable footage he shot in the spring of 1945.
Author: Samuel Fuller Publisher: Univ. Press of Mississippi ISBN: 1617033065 Category : Biography & Autobiography Languages : en Pages : 169
Book Description
In the early twentieth century, the art world was captivated by the imaginative, totally original paintings of Henri Rousseau, who, seemingly without formal art training, produced works that astonished not only the public but great artists such as Pablo Picasso. Samuel Fuller (1912-1997) is known as the "Rousseau of the cinema," a mostly "B" genre Hollywood moviemaker deeply admired by "A" filmmakers as diverse as Jim Jarmusch, Martin Scorsese, Francois Truffaut, Jean-Luc Godard, and John Cassavetes, all of them dazzled by Fuller's wildly idiosyncratic primitivist style. A high-school dropout who became a New York City tabloid crime reporter in his teens, Fuller went to Hollywood and made movies post-World War II that were totally in line with his exploitative newspaper work: bold, blunt, pulpy, excitable. The images were as shocking, impolite, and in-your-face as a Weegee photograph of a gangster bleeding on a sidewalk. Fuller, who made twenty-three features between 1949 and 1989, is the very definition of a "cult" director, appreciated by those with a certain bent of subterranean taste, a penchant for what critic Manny Farber famously labeled as "termite art." Here are some of the crazy, lurid, comic-book titles of his movies: Shock Corridor, The Naked Kiss, Verboten!, Pickup on South Street. Fuller isn't for everybody. His fans have to appreciate low-budget genre films, including westerns and war movies, and make room for some hard-knuckle, ugly bursts of violence. They also have to make allowance for lots of broad, crass acting, and scripts (all Fuller-written) that can be stiff, sometimes campy, often laboriously didactic. Fuller is for those who love cinema--images that jump, shout, dance. As he put it in his famous cigar-chomping cameo, acting in Jean-Luc Godard's Pierrot le fou (1965): "Film is like a battleground . . . love, hate, violence, death. In a single word: emotion." After directing, Sam Fuller's greatest skill was conversation. He could talk, talk, talk, from his amazing experiences fighting in World War II to the time his brother-in-law dated Marilyn Monroe, and vivid stories about his moviemaking. Samuel Fuller: Interviews, edited by Gerald Peary, is not only informative about the filmmaker's career but sheer fun, following the wild, totally uninhibited stream of Fuller's chatter. He was an incredible storyteller, and, no matter the interview, he had stories galore for all sorts of readers, not just academics and film historians.
Author: Louis Black Publisher: University of Texas Press ISBN: 1477315446 Category : Performing Arts Languages : en Pages : 416
Book Description
Austin’s thriving film culture, renowned for international events such as SXSW and the Austin Film Festival, extends back to the early 1970s when students in the Department of Radio-Television-Film at the University of Texas at Austin ran a film programming unit that screened movies for students and the public. Dubbed CinemaTexas, the program offered viewers a wide variety of films—old and new, mainstream, classic, and cult—at a time when finding and watching films after their first run was very difficult and prohibitively expensive. For each film, RTF graduate students wrote program notes that included production details, a sampling of critical reactions, and an original essay that placed the film and its director within context and explained the movie’s historical significance. Over time, CinemaTexas Program Notes became more ambitious and were distributed around the world, including to luminaries such as film critic Pauline Kael. This anthology gathers a sampling of CinemaTexas Program Notes, organized into four sections: “USA Film History,” “Hollywood Auteurs,” “Cinema-Fist: Renegade Talents,” and “America’s Shadow Cinema.” Many of the note writers have become prominent film studies scholars, as well as leading figures in the film, TV, music, and video game industries. As a collection, CinemaTexas Notes strongly contradicts the notion of an effortlessly formed American film canon, showing instead how local film cultures—whether in Austin, New York, or Europe—have forwarded the development of film studies as a discipline.
Author: Robert Porfirio Publisher: Hal Leonard Corporation ISBN: 9780879109615 Category : Performing Arts Languages : en Pages : 260
Book Description
(Limelight). Departing from the approach of its Film Noir Reader predecessors, this third volume in the series assembles a collection of interviews with film noir directors and a cinematographer, few of whom are alive today. Interviewees include Billy Wilder ( Double Indemnity and Sunset Boulevard ), Otto Preminger ( Laura ), Joseph Lewis ( Gun Crazy and The Big Combo ), Curtis Bernhardt ( Possessed and A Stolen Life ), Edward Dmytryk ( Murder, My Sweet and Crossfire ), and Fritz Lang ( Scarlet Street and The Woman in the Window ).
Author: Perseus Publisher: Carroll & Graf ISBN: 9781560257431 Category : Fiction Languages : en Pages : 432
Book Description
A twenty-fifth anniversary edition of the World War II tale, published to coincide with the film version's restoration and its DVD release, traces the friendship of five soldiers whose tour of duty takes them to Vichy French Africa, Europe, D-Day Normandy, and Germany. Original.
Author: Glenn Kenny Publisher: Harlequin ISBN: 1488059136 Category : Biography & Autobiography Languages : en Pages : 431
Book Description
A revealing look at the making of Martin Scorsese’s iconic mob movie and its enduring legacy, featuring interviews with its legendary cast. When Goodfellas first hit the theatres in 1990, a classic was born. Few could anticipate the unparalleled influence it would have on pop culture, one that would inspire future filmmakers and redefine the gangster picture as we know it today. From the rush of grotesque violence in the opening scene to the iconic hilarity of Joe Pesci’s endlessly quoted “Funny how?” shtick, it’s little wonder the film is widely regarded as a mainstay in contemporary cinema. In the first ever behind-the-scenes story of Goodfellas, film critic Glenn Kenny chronicles the making and afterlife of the film that introduced the real modern gangster. Featuring interviews with the film’s major players, including Martin Scorsese and Robert De Niro, Made Men shines a light on the lives and stories wrapped up in the Goodfellas universe, and why its enduring legacy has such a hold on American culture. A Library Journal Best Book of the Year A Sight and Sound Best Film Book of 2020
Author: Robert Phillip Kolker Publisher: Oxford University Press, USA ISBN: 9780195123500 Category : Performing Arts Languages : en Pages : 532
Book Description
In this 20th anniversary edition, Kolker continues and expands his inquiry into the phenomenon of cinematic representation of culture by updating and revising the chapters on Kubrick, Scorsese, Altman and Spielberg.
Author: Samuel Fuller
Author: Samuel Fuller
Author: Marsha Gordon
Author: Samuel Fuller
Author: Louis Black
Author: Lisa Dombrowski
Author: Robert Porfirio
Author: Lisa A. Dombrowski
Author: Perseus
Author: Glenn Kenny
Author: Robert Phillip Kolker