This title tells an 1876 Californian tale of a Coast Miwok Warrior named 'Quentin' AKA 'Naked Spurs'. It is the plausible story of the 'Beat the Bounty' competition, a contest attracting the fastest guns in the west to the largest man-hunt in history.

2 in 1 Screenplay and Graphic Novel (storyboard). Based on the most famous Orphic tale: Search for Eurydice. Synopsis: Orpheus (minstrel of the Argonauts) is distraught upon finding that the mythical healing powers of the Golden Fleece are not enough to resurrect his dead wife. In mourning he plays his most sorrowful song drawing tears from the very eyes of those who rule over the Dead. King and Queen of the Underworld give him one chance to rescue her, but he must stick to one certain rule: To not look back until he has reached the surface. "If you break this rule she will be lost forever." Reincarnated in the present for the entertainment of the gods; Orpheus becomes part of a wager of mythic proportions. Can he rescue his wife by discovering his true identity or will the Valley of Acherusia, (the only known way for a living being to reach the Underworld) still remain a guarded secret. Orpheus holds the belief that she isn't quite dead yet.

A child's wish melds the soul of a kind-hearted simpleton to a toy bear. The bear passes into the hands of the Jewish community and brings with it a history of fear.

The central thesis of this book is that a genre approach provides the most effective means for understanding, analyzing and appreciating the Hollywood cinema. Taking into account not only the formal and aesthetic aspects of feature filmmaking, but various other cultural aspects as well, the genre approach treats movie production as a dynamic process of exchange between the film industry and its audience. This process, embodied by the Hollywood studio system, has been sustained primarily through genres, those popular narrative formulas like the Western, musical and gangster film, which have dominated the screen arts throughout this century.

With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malèna; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved—a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone’s expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone’s passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.

You know about Noah, but what about the animals? Thimblerig is a little groundhog with big problems. He's a loner con-artist who's losing his mojo; the wild dogs who run the forest harass him at every turn; he's started having vivid nightmares of apocalyptic floods; and worst of all - he believes he sees unicorns when everyone knows unicorns are only the stuff of legend. But what one animal calls problems, Thimblerig calls opportunity. His problems inspire him to come up with the ultimate con: convincing a group of gullible animals that a world-ending flood is coming, that the fabled unicorns have told him where the only safe place will be, and that only he can lead them to safety. And all for a reasonable price, of course. But when the flood really does come, Thimblerig has a choice to make: either he really does save the ones who have trusted him, or he loses everything. And he discovers that his problems have only just begun.

A stimulating and unusually wide-ranging collection of essays overviewing ways in which music functions in film soundtracks.

Shane rides into the valley where Bob Starrett's family lives, and Bob, 15, tells about Shane's winning ways.