The importance of media preservation has in recent years achieved much broader public recognition. From the vaults of Hollywood and the halls of Congress to the cash-strapped museums of developing nations, people are working to safeguard film from physical harm. But the forces at work aren't just physical. The endeavor is also inherently political. What gets saved and why? What remains ignored? Who makes these decisions, and what criteria do they use? Saving Cinema narrates the development of the preservation movement and lays bare the factors that have influenced its direction. Archivists do more than preserve movie history; they actively produce and codify cinematic heritage. At the same time, digital technologies have produced an entirely new reality, one that resists the material, artifact-driven approach that is the gold standard of preservation in the Western world. As it has become increasingly easy to capture and access moving images, increasing evidence of something many archivists have known for years has emerged: industrial and training films, amateur travel diaries, and even family videos are critical public resources. It has also raised question about the role of the profession. Is access equivalent to preservation, and, if it is, how should archivists alter their activities? The time is ripe for a reconsideration of the politics and practices of preservation. Saving Cinema is the book to guide that conversation.

Provides advice for budding screenwriters on how to handle the challenges of writing a Hollywood script and includes insider information on the most popular genres in Hollywood as well as references to 500 movie "cousins" to help guide the script writing process.

This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.

This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

The Cinema "The Royal Cinema opened on July 15th 1938, replacing the Theatre Royal which had stood on the site since 1813. It was designed by William Riddell Glen for Associated British Cinemas (ABC). The ABC chain had been founded in 1928 as part of British International Pictures by John Maxwell, and by 1937 was the second largest cinema chain in the world. Unlike it's competitors, this growth was accompanied by profits and annual dividends with no financial crises. With 2,404 seats the Royal was unusually large for a provincial ABC, but the nearby Gaumont Palace at 2,300 seats and Regent at 3,250 seats also held large audiences, something which may reflect the sheer number of military personnel stationed in Plymouth in the 1930s. An Odeon planned for Union Street but never built would have had a capacity of 2,500. Played at the opening by Wilfred Southworth, the Compton organ, regarded as one of the best ever fitted to a cinema became well known at the hands of Dudley Savage. He began at the end of 1938 at just 18 years old and remained the resident organist until 1976. Weekly BBC radiobroadcasts and album releases brought Dudley Savage and the 'Plymouth Sound' to a wide audience. We have campaigned and had many meetings -over many months - to save the building, but it's future is now in your hands. Write to your local MP, contact the City Council, badger your next door neighbours to join in and support our/your efforts by buying this book and helping fight the cause*. From all of the comments that I have received over the past year for this book, you all feel the same as we do - that the building should live on, providing a community cinema / 1000 capacity music venue / art space etc. It would be extremely sad to see the building go, so many memories, so many concerts, so many films, so much popcorn!! We leave the ball in your court. Support us, help us and promote the campaign to help save 'our Last Picture House'.

In The End of Cinema As We Know It, contributors well known in the 'movie' field talk about the movie industry and look at the variety of new ways we are viewing films. They query whether or not we are getting different, better movies?

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.

No Marketing Blurb

The volume is ideal for graduate and undergraduate courses on the long sixties, political cinema, 1968, and new waves in art history, cultural studies, and film and media studies.

This new edition of 'The Cinema Book' looks at the recent developments in the field of cinema studies whilst retaining the historical coverage and depth of the original.