By Peter Hutchings
Peter Hutchings' many faceted account of Hammer's 1958 gothic horror vintage explores the ways that the historical past of the Dracula tale, in addition to the Hammer company's personal fortunes affected the character of the movie, and appears heavily on the movie itself and the unique functionality kinds of its stars, Christopher Lee and Peter Cushing.
Read Online or Download Dracula (British Film Guides, Volume 7) PDF
Similar film books
"In the sector of movie aesthetics, it's the first very important American paintings, nonetheless important--The paintings of the relocating photo is dazzling. "
Written in 1915, The paintings of the relocating photograph via poet Vachel Lindsay is the 1st publication to regard video clips as artwork. Lindsay writes an excellent research of the early silent movies (including a number of now misplaced films). he's terribly prescient concerning the way forward for motion picture making--particularly in regards to the enterprise, the prominence of know-how, and the emergence of the director because the writer of the film.
"This is a joyous and beautiful performance," acknowledged Francis Hackett, whilst he reviewed this e-book within the New Republic of December 25, 1915, "a daring and amazing conception, fairly daring and very terrific, and takes first position as an proposal of the best renowned aesthetic phenomenon on this planet. "
Practical artwork of movie Sound 4th edition relies at the specialist event of the writer and different most sensible sound craftspeople to supply a entire rationalization of movie sound, together with blending, dubbing, workflow, budgeting, and electronic audio suggestions. essentially grounded with real-world tales from the trenches all through, the booklet additionally offers appropriate technical facts, in addition to an appreciation of the entire approaches interested in growing optimum movie sound. New to this variation are unique sound artist classes from the sector (including 2 new construction instances studies), together with perception from craftspeople who've labored at the most modern Harry Potter and Batman motion pictures. All technological alterations were up-to-date to mirror the most up-tp-date platforms.
**Due to a producing mistakes, the Yewdall Sound FX Library isn't really to be had at the DVD incorporated with the booklet. Please stopover at the book's site, www. elsevierdirect. com/companions/9780240812403 to obtain the total library. **
*Detailed step by step clarification of the craft in addition to expert perception from many of the humans operating within the supply readers with either sensible wisdom and thought
*Author presents an entire evaluation of constructing potent sound for movie, together with movie protocol, budgeting information, facing onset politics, and technical information regarding recording
*Companion site to be had. stopover at www. elsevierdirect. com/companions/9780240812403 for movies, images and a word list of phrases
Tailored from the Screenplay "Frankenstein Meets the Wolfman" by means of Curt Siodman.
A werewolf who needs to be published from his curse and die visits Frankenstein's ruined fort to profit the secrets and techniques of lifestyles and loss of life.
This penetrating learn of the Iranian filmmaker Abbas Kiarostami's lifestyles and paintings engages a cross-cultural discussion among Mehrnaz Saeed-Vafa, an Iranian filmmaker, and Jonathan Rosenbaum, a movie critic, either one of whom have an excessive curiosity in Kiarostami's paintings. A pioneer in Iranian cinema and thought of the most debatable and influential filmmakers alive, Kiarostami has written or directed greater than twenty motion pictures.
- The Raven (Movie Monsters Series)
- Red River (BFI Film Classics)
- Directory of World Cinema: Britain
- Film, Folklore and Urban Legends
- Film as Subversive Art
- Directory of World Cinema: Britain
Extra info for Dracula (British Film Guides, Volume 7)
The Hammer approach promoted an attention to detail in production and costume design, camerawork and lighting, performance, editing and music, among other things, and an accompanying concern to push a low budget to its limits, to make a ﬁlm appear more expensive than it actually was. This in turn invested the ﬁlms themselves with a degree of energy and ambition, not necessarily an artistic or cultural ambition but instead an ambition to do absolutely the best one could with the material available, for reasons of professional pride if nothing else.
7 This opening camera movement also helps to distract the audience both from the modest proportions of the building being ﬁlmed and the oddness of some of its features. The entrance to the castle is hardly a grand entrance – especially when compared with the much more spectacular presentation of Castle Dracula in Universal’s version of the story – and, for some unexplained reason, the entrance to the cellar, presumably the place where the Count is at his most vulnerable as he sleeps in his tomb, is located outside the castle’s protective walls.
American horror in the s and s had developed a propensity for expressive and sometimes extravagant camerawork that often went beyond the immediate needs of the narrative to evoke mood and atmosphere. One thinks here, to give just two examples, of the ‘creation’ scene in The Bride of Frankenstein () and the heroine’s night-time journey to the voodoo ceremony in I Walked with a Zombie (). To a certain extent, the opening sequence of Dracula does precisely what these other sequences do; it evokes a particular mood, a mood of ominous foreboding.