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No 1

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There’s more to film than meets the eye...
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Kobal (1)
Issue 2 of
thebigpicture contents
Issue One. March 2009
Available from

6Contents issue
March 15th

Regulars
01 04 / Reel Life
The Rocky Statue

20 / One Sheet
Ridley Scott’s Alien

28 / 1000 Words
The ‘Trombone Shot’

32 / On Location
Vienna, Austria

44 / Parting Shot
The Great Train Robbery

Features
06 / Spotlight
Great Movie Smooches

14 / Art & Film


Drive-in Movie Theatres

24 / Widescreen
Skyline Residence

40 / Art & Film

24
“Tough beans
Cindy Sherman
buddy, ‘cause
that’s the way it’s
gonna be.”
Holly Golightly

32
Cover image Gone With the Wind (Kobal)

The Big Picture ISSN 1759-0922 © 2009 intellect Ltd.


Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 1DE
Editorial o�ce Tel. 0117 9589910 / editorial@thebigpicturemagazine.com
Publisher Masoud Yazdani Editor / Art Direction Gabriel Solomons
Contributors Gail Tolley, Jez Connely, Richard Berger, Tony Nourmand
Special Thanks to Gabriel Swartland at City Screen, Zoe Naylor at the
independent cinema o�ce and Caroline Haywood at The Picture Desk
info@thebigpicturemagazine.com / www.thebigpicturemagazine.com

March2009 3
reellife

Created by sculptor A.
W H E N FA N TA SY BECOMES REALIT Y
Thomas Schomberg,

Rocky
the Rocky statue was
commissioned by old Sly
Stallone himself in 1982 for
Rocky III and was donated
to the City of Philadelphia at
the completion of filming. The

Statue
gift caused quite a rumpus
as debate raged about the
statue’s worth as art versus
movie prop, and whether the
Art Museum location was the
most appropriate.
In 2006, the city found a
Philadelphia, Pennsylvania permanent home for the
statue at the foot of Eakins

How America’s favourite underdog became one Oval next to the Philadelphia
Museum of Art steps (see
city’s symbol of triumph in the face of adversity. image below), giving film fans
an opportunity to visit and
pose with the famous icon.
The steps themselves have
become the scene of endless
re-enactments, as thousands
of wannabe Rockys make
the climb and punch the air
in victory. It all seems to
indicate that the hardened
minds of the museum’s board
and management ultimately
couldn’t resist the appeal and
influence that Rocky Balboa
has on the City of Philadelphia,
its citizens and its visitors.
Everybody now... ‘Yo Rocko!’

Kobal (1)
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Kobal (2)
spotlight

M E M O RA B L E S C R E E N K I S S E S

Flaming
Lips We all remember the ultimate thrill of that first
kiss with someone. The passion and excitement
of the first time your lips lock is never again
realized and is to be cherished. But what makes
for a memorable screen kiss? Is it the passion,
the circumstances, the buildup, the dialogue or
the sexiness and eroticism? The images on the
following pages could be seen to tick one or all
of these boxes to become truly iconic.

The romantic kiss First ever screen kiss


Breakfast at Tiffany’s The Widow Jones

Struggling writer Paul Varjak (George Peppard) moves into a Although regarded as “disgusting” and scandalous and
New York apartment building and becomes intrigued by his pretty, prompting demands for censorship, May Irwin and John
quirky neighbor Holly Golightly (Audrey Hepburn). The intensity Rice re-enacted a lingering kiss in this 20-second long
and romance of this kiss is what makes it so iconic. Appearing right short, from their 1895 Broadway stage play The Widow
at the end of the film, this shot would later influence a raft of films Jones; it was the first film ever made of a couple kissing
including When Harry Met Sally and Manhattan. in cinematic history.

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spotlight

“This is what
you were meant
for. None of the
fools you’ve ever
The same sex kiss
known have Cruel Intentions
kissed you like
this, have they?” The standout scene of
this Dangerous Liaisons
Rhett Butler remake in which Kathryn
Merteuil’s (Sarah Michelle
Geller) amoral, bitchy,
teen-vamp demonstrated
her manipulative intentions
toward innocent Cecile
Caldwell (Selma Blair) by
teaching her how to slow- and
wet-kiss in the park .

Cross species kiss


Planet of the Apes

Displaced astronaut-human
George Taylor (Charlton
Heston) kissed scientist-ape
Zira (Kim Hunter), following
this dialogue, as they stood
next to crashing waves on a
beach: Taylor: “Doctor, I’d
like to kiss you goodbye.”
Zira: “All right ... but you’re
so damned ugly!”. Classic.

The reluctant kiss


Gone with the Wind

“You’ve been married to a


boy and an old man. Why not
try a husband of the right age
with a way with women?” A
reluctant kiss on Scarlett’s
part but one that nonetheless
shows the passion that these
two (Vivian Leigh and Clark

Kobal (2)
Gable) feel for each other.

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spotlight
The kiss of innocence
ET The Extra Terestrial

For all its focus on a visitor


from outer space making
sense of the earth, ET was
ultimately a film about
tolerance and love. Themes
that were never better
expressed than when Bertie
(Drew Barrymore) says her
goodbyes to our intergalactic
friend in the only way a six
year old child could – with a
heartfelt kiss on the nose.

Kiss of salvation
City of God
While gang violence and
rage run riot in the slums
of Rio De Janeiro, aspiring
photographer Rocket
(Alexandre Rodrigues) is
searching for a way out. In
a rare moment of youthful
tenderness amid the chaos,
Angelica (Alice Braga) – a girl
Rocket is infatuated with but
ultimately can’t have – plants
a loving kiss on his cheek
as the pair enjoy a peaceful
afternoon on the beach.

The fleeting kiss “I’ll go on loving you for as The closeup kiss
La Dolce Vita long as I live.” A Place in the Sun

Federico Fellini gave Anita


Angela Vickers In one of the most romantic
Ekberg her greatest role “Love me for the time I have scenes ever filmed, rich
in La Dolce Vita, in which girl Angela (Elizabeth
she played the unattainable left. Then, forget me.” Taylor) and poor boy George
‘dream woman’ opposite (Montgomery Clift) confess
Marcello Mastroianni’s
George Eastman a love for each other while
playboy journalist in this tale dancing together in a series
of decadent but empty excess. of intimate full-face closeups.
The kiss in the Fontana di Their beautifully framed
Trevi crystalized Marcello’s faces fill the screen as they
desire to escape into an embrace tightly and pledge
infantile fantasy world with themselves to each other,
a woman that embodied the caught up in an all-consuming
freedom he so desired. relationship over which they
have no control.
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The forbidden kiss
From Here to Eternity

In a moment regarded as
shockingly erotic by 1952
standards, Deborah Kerr’s
married Karen Holmes and
Burt Lancaster’s conflicted
Sgt. Warden give in to their
forbidden desires by sharing
an impassioned kiss in the
Hawaiian surf.

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art&film

A M E R I CA N D R I V E - I N T H E AT R E S

the
Great
Out-
doors
Sceptics had long predicted the death of the
drive-in movie theatre. Television, creeping
suburbs and rising land values were all seen as
contributing factors to its slow decline. But a
resurgence is underway with over 400 drive-
in theatres currently doing good business.
Photographer Carl Weese has been travelling
the country documenting both the fall and rise
of this very American ‘institution’. ➜

The Van Del, Middlepoint, Ohio

14 | thebigpicture March2009 15
art&film Carl Weese

Top The Winner, Winner, South Dakota


Above The Mt. Zion, Mt. Zion, West Virginia

The Swan, Blue Ridge, Georgia

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art&film Carl Weese
Long live the drive-In Pike Drive-in Theater, Montgomery, Pennsylvania
A marriage of two great
American passions:
automobiles and movies, the
drive-in flourished in the
1950s as over 4,000 theaters
showed first-run films and
appealed to everyone.
Although the industry is just
a glimmer of what it once
was, a growing number of
enthusiasts are ensuring that
it stays very much alive. So, it
seems that the drive-in is an
American icon that will never
completely fade — perhaps
because of its irresistable
and enduring appeal, says
April Wright (director of,
Going Attractions: The Rise
and Fall of the Drive-In as
an American Icon): “If it
were just nostalgia, people
would come one night and
they would go ‘Okay, did
that, check that off the list,’”
Wright says. “But it’s not
that. They are literally coming
every week, week after week.
On a beautiful night, with the
stars out, it is an experience
that I think will survive.”

To see more of Carl Weese’s


photographic work and to enquire
about print purchases be sure to visit:
www.carlweese.com

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onesheet

the
Beast
D ECONS TRUCTING FILM POS TERS

inside
Mixing simple imagery with minimalist text, the
poster for Alien oozed suspense and almost dared
the viewer to enter the cinema. In a regular feature
exploring the world of film poster art, Tony Nourmand
from London’s Reel Poster gallery talks us through it.

➊ MINIMALISM ➋ WORDPLAY ➌ INTERPRETATION


When Alien was released in Renowned designer Steve In striking contrast to the
1979, a shrewd marketing Frankfurt was responsible for carefully choreographed
approach was adopted, the film’s legendary tagline American campaign, the
building intrigue and suspense ‘In space no-one can hear you Polish poster (overleaf) was
through the use of minimalist scream’. Frankfurt has a gift a wonderfully bizarre take
imagery and graphics. This for producing sound bites on the title that bore little
campaign of implied menace that capture the essence of a bearing to the plot or monster.
is embodied in the American film in just a few words. The Poster artists working in the
poster for the film. Philip taglines that he has created former Eastern Bloc were
Gips’ simple artwork is hugely for endless campaigns have famous for their abstract and
evocative – the green smoke become almost as famous as conceptual designs. Often
oozing from the egg and the the films themselves. It was the artists were given only
cage both suggest no escape Frankfurt who asked us to a title and brief summary to
from unimagined horrors. ‘Pray for Rosemary’s Baby’ work from and this, combined
(Rosemary’s Baby, 1968), with a great deal of artistic
reminded us that ‘Every freedom, led to the creation of
father’s daughter is a virgin’ some of the most interesting
(Goodbye Columbus, 1969) and unique film posters on
and breathed that ‘X was record. This poster is a great
never like this’ (Emmanuelle, example of this tradition.
1974). His tagline for Alien The Hungarian poster
was equally effective, (overleaf) is unusual in that
expressing the horror of the it was one of the only posters
film while giving nothing worldwide to reveal the alien
away. This now infamous line itself and is a close depiction
helped Alien become one of of H. R. Giger’s own drawings
the most successful horror of his creation.
films ever made.

gofurther... [POSTERS ] www.reelposter.com [DESIGNER ] Philip Gip [ARTIST ] H. R. Giger

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Alien / Obcy (1979) / Art by Jakub Erol / Original Polish 37 x 26 in. (94 x 66 cm) Alien / A Nyolcadik Utas A Halal (1979) / Artist Unknown / Original Hungarian 65 x 45 in. (165 x 114 cm)
widescreen

W H E R E A N D H O W W E WAT C H F I L M S

Pacific
Heights
While most of us settle for widescreen
plasma TVs and surround-sound systems,
one Los Angeles residence high atop the
Hollywood hills pushes the home cinema
experience into a whole new league. ➜
Photographs by Benny Chan

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widescreen

Hollywood, California
With its beautiful slimline
appearance and unrivalled
views of downtown Los
Angeles, Laurel Canyon and
the San Fernando Valley, the
Skyline Residence could well
be the setting of a scene from
a Michael Mann film.
The hilltop residence is
the brainchild of Hagy
Belzberg, chief architect at
Los Angeles based Belzberg
Architects. Incorporating
sustainable design strategies,
the property is a stunning
marriage of beauty and
originality while allowing for
a bit of fun in the form of a
wall that allows images to be
projected from a large plasma
screen indoors. We can only
guess at the thrill experienced
while watching a movie in
this location, but imagine it to
be nearly as enjoyable as the
surroundings glimpsed after
the end credits have rolled.

Design Belzberg Architects

26 | thebigpicture February2009 27
1000words Below James Stewart hangs on in Vertigo
hint as to its origins. While A new generation of the trombone-shot something
Alfred Hitchcock was busying students in the US were now of a cliché and it permeated
himself with his principle studying film for the first the 1970s B-movies like a
leads during the shooting time, particularly the work of virus, while a young Quentin
of Vertigo (1958), he left the Cahiers writers. Through Tarantino took careful notes.
his second unit in charge of the subsequent nouvelle Another alumni of the New
effects. By now, the Hitch was vague filmmakers, they Hollywood school was up
at the peak of his powers, a rediscovered their own film next: in Goodfellas (1990)
few years earlier having been heritage as this ‘new wave’ Martin Scorsese proved that
singled out as one of the first of French cinema revered even something now thought
‘auteurs’ by the influential Hitchcock, Howard Hawks, of as tired and old-fashioned
Cahiers du Cinema magazine. Orson Welles and John Ford. could be revitalized, and that
It would be a few years A seed had been planted it was the context, rather
yet before his masterpiece and the trombone-shot than a superficial effect, that
Psycho, but it was the
second unit camerman,
spread. Stephen Spielberg’s
Jaws (1975) used it to great
‘The success of really gave the shot its power.
The scene where Ray Liotta’s
Irmin Roberts, who came purpose, as the world swirls Jaws made the Henry Hill and Robert De
up with a way of illustrating
the psychological feeling of
around Roy Scheider’s Chief
Brody sitting bolt upright
trombone-shot Niro’s Jimmy Conway sit in
the diner discussing their
vertigo from James Stewart’s on Amity Beach as the shark something of bleak future, shows how out
character, John Ferguson’s
perspective.
attacks the bathers. The
mechanical shark, ‘Bruce’,
a cliché and it of touch these ‘wise-guys’ are,
as the slow lazy trombone
In principle, it seemed famously didn’t work, so permeated the shot, over several minutes,
easy, but in practice it meant
reconstructing a scale model
Spielberg had to shoot around
it, his film school learnt tricks
1970s B-movies shows the world around them
changing; a world they no
of the staircase that Stewart and John Williams’ murky like a virus...’ longer fit into.
looks down through the well score subsequently going on Alienation and isolation
of, putting it on its side and to create the first blockbuster. was also the theme of Mathieu
then having Roberts tracking He left the shot alone after Kassovitz’s debut feature, La ➜
back his camera on a long that, but as a producer he
dolly, whilst pulling in on the didn’t mind protégé Tobe
zoom lens. The speed here Hooper putting it to good use
was crucial: too slow and it in Poltergeist (1982).
would undermine the pace of The success of Jaws made
the scene; too fast, and the Above Robert De Niro and Ray Liotta feel the heat in Goodfellas
audience would feel dizzy.
The idea was to set the zoom
to adjust to the angle of the

G
view as the camera moves.
ood ideas last.
MOME N TS T HAT CH AN G E D FI L M F OR EV ER This creates a perspective
That’s really the
distortion, in this case from
point of them. If
Stewart’s point-of-view,
The ‘Trombone Shot’: they didn’t endure
in some way, they wouldn’t
as the background seems
to shift. It became the

From San Francisco to


be ‘good’. In film history,
memorable shot of the whole
such good ideas could be
movie and Hitch used the
isolated and constituted as
Middle Earth via Amity part of a convoluted history,
whereby you could look back
shot again in Marnie (1964).

at a particular innovation and


Jaws may have popularised the shot, but plot its evolution. But cinema
isn’t like that. Rather than
it was cameraman Irwin Roberts working seeing film history as linear,
on Alfred Hitchcock’s Vertigo who would it should be viewed as a sort
introduce audiences to the conta-zoom, of continuum, whereby all the
good ideas co-exist and jostle
and with it bring drama and suspense together in the same room,
hurtling toward us like never before. at the same time. In this
way, we can see how cinema
Text by Richard Berger stretches out and speaks
across the years, in constant
conversation with itself.
One such idea was the
contra-zoom, or ‘trombone-
shot’. Sometimes it is known
as the ‘dolly zoom’ or the
‘Vertigo zoom’ giving us a
gofurther... Marnie (1964) / Jaws (1975) / Poltergeist (1982) / Scarface (1983)

28 | thebigpicture March2009 29
Below Vincent Cassel, Saïd Taghmaoui and Hubert Koundé prepare for battle in La Haine 1000words

Haine (1995). The film wore


its references on the sleeve
“The arrival for the whole film, taking
Scorsese’s lead via Vertigo
full of references and the
trombone-shot gets a little
with clear allusions to Brian of the three this time, and not Spielberg’s. lost amongst all the other
De Palma’s Scarface (1983)
itself the product of the New
young men in Perhaps Peter Jackson
had both filmmakers in mind
devices and stylistics. So, a
good idea never gets old, it’s
Hollywood and a remake the centre of when he put his own spin on just reworked in new ways,
of another proto-auteur, the trombone-shot for his by new filmmakers; it serves
Howard Hawks. La Haine, the city in La The Lord of the Rings: The to create the images we
shot in monochrome, used an Haine is framed Fellowship of the Ring (2003). remember; it’s a fluid shot,
illusionary ‘real time’ device Again, it’s a slow zoom he and doesn’t work as a still
to add urgency to its story of in a yawning goes for, as Elijah Wood’s image, but it still frames
urban decay. The three lead trombone-shot, Frodo looks down the long some of the most memorable
characters, all from different road to Mordor. But there’s scenes in cinema. [tbp]
ethnic backgrounds, exist in which shows is a shark here too, this time
the grim ‘Banlieue’ housing them at once in the form of a Nazgul, that
FILMSPEAK DECODED
projects on the outskirts is coming for him. Jackson,
of Paris. Their eventual part of Paris and more a student of B-Movie
Cahiers du Cinema was an
influential French film magazine
arrival in the centre of the its culture, but horror than the nouvelle founded in 1951 by André Bazin,
city is framed in a yawning vague, seemed to be going
trombone-shot, which shows detached from for a way of conveying peril
Jacques Doniol-Valcroze, and
Joseph-Marie Lo Duca.
the three young men at it at the same and showing how the world Auteurs (French for author) is used
once part of Paris and its was changing and reordering to describe film directors who are
culture, but detached from time.” itself around the fellowship considered to have a distinctive,
it at the same time. It was – a theme constant in J. R. R recognizable style.
this paradox that Kassovitz Tolkien’s source books. Nouvelle vague (New Wave) Young
spirited French filmmakers of
wanted to portray and the Finally, it was the B-
the 50s and 60s who were linked
French cabinet were all Movies that Tarantino was by their rejection of classical
summarily dispatched to paying homage to with his use cinematic form and wanted to
an early screening. So, the of the shot in Kill Bill: Vol. shake things up.
shot here acts as a metaphor 1 (2003). This film is stacked

gofurther... The Lord of the Rings (2003) / Kill Bill Vol.1 (2003) nextissue... From silent to sound

30 | thebigpicture
onlocation

Vienna
CA P T URING THE CITY ON SCREEN

Austria In a regular series, we take a look at


the film locations which have played
an integral part in lending a film its
authenticity and particular character.
First up - Vienna, romantic city on the
Danube. Text by Gabriel Solomons ➜

The Third Man


(1949)
Dir. Carol Reed
UK, 104 minutes
Starring Joseph Cotton, Alida
Valli and Orson Welles

Often topping ‘greatest film


ever’ polls, The Third Man is a
classic from the glory days of
film noir that expertly blends
Above Joseph Cotten and Orson Welles square o�
the quirky zither music of
Anton Karas and eerily
brilliant cinematography
of Vienna’s bombed out
buildings and underground
sewers. The story of pulp
novelist Holly Martins who
Top travels to shadowy, postwar
Location map Vienna, only to find himself
Bottom investigating the mysterious
Parliament death of an old friend, black-
building market opportunist Harry
Lime, makes for a film that
holds up to endless repeat
viewings.
A bleak portrait of Vienna as
a city divided but one which
perfectly underpins a story
full of intrigue and mystery
unfolding in the shadows.
Kobal (2)

32 | thebigpicture March2009 33
onlocation

ViennaAustria

Amadeus
(1984)
Dir. Milos Forman
US, 160 minutes
Starring Tom Hulce and
F. Murray Abraham

Milos Forman’s deserved


Oscar winner is a rich tale
of rivalry, revenge and
redemption told in flashback
by Antonio Salieri - now
confined to an insane asylum.
Salieri believes that Mozart’s
music is divine and wishes
he himself was blessed with
the composer’s talents. Why
such a vulgar creature should
be favoured by God to be his
earthly instrument mystifies
Salieri and only intensifies his
desire to take revenge.
An imperious, lavish Vienna
acts as the backdrop to a
story which works alongside
Kobal (2) the period costumes and rich
colour palette.

34 | thebigpicture March2009 35
onlocation

Kobal (1)

ViennaAustria
Before
Sunrise
(1995)
Dir. Richard Linklater
US, 105 minutes
Starring Ethan Hawke
and Julie Delpy

A chance encounter on a
train sets off a passionate
and intelligent romance
between a young American
(Jesse) and French student
(Celine). The encounter
incites intrigue, and Jesse
provocatively suggests that
Celine postpones her return to
France and embarks instead
on a spontaneous expedition
to Vienna. In the course of
their 14-hour relationship,
the two share in their love
for the unrehearsed and
their appreciation for the
unexpected as they explore
the city as well as each other.

SEE ALSO
Sissi (1955) First in a trilogy of
romantic films about Austrian
Emperor Franz Joseph’s meeting
and falling in love with princess
Elisabeth of Bavaria. Starring
German actress Romy Schneider.
Mayerling (1968) Romantic
tragedy which traces the story of
Crown Prince Rudolf of Austria’s
clashes with his father Emperor
Franz Joseph I and his violent death
with his mistress, Baroness Maria
Vetsera. Stars Omar Sharif and
Catherine Deneuve.

36 | thebigpicture March2009 37
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art&film

A RT I S T S I N S P I R E D BY FILM

Screen
Shots
The American artist Cindy Sherman
has been one of the most widely
exhibited and discussed artists of
her generation. She first attracted
attention around 1980 with her black-
and-white Untitled Film Stills, in
which, employing sometimes elaborate
costuming and staging, she assumed a
variety of female personas familiar from
American and European cinema to call
attention to the stereotyping of women
in films, television and magazines. ➜

Images courtesy of the Artist and Metro Pictures

40 | thebigpicture Untitled Film Still #21. 1978


March2009 41
art&film Cindy Sherman
Gender Issues
There is a familiarity to
Cindy Sherman’s Untitled
Film Stills which is hard
to pinpoint but seems
unmistakably cinematic.
We may not know the film
(impossible really as the
films don’t actually exist),
but the poses, locations and
composition all combine to
play to our filmic frames of
reference. Once we discover
that the images aren’t ‘lifted’
from a movie but rather
represent female stereotypes
(that would later continue
themes of self image, beauty
and aging), we are free to
examine them on a more
individual and personal basis
as you would a painting or
sculpture, reading into them
whatever we choose. Either
way, Sherman’s images
are evocative as moments
captured, similar to those
from actual films, which lift us
out of the ordinary and into
the realm of fantasy.

www.metropicturesgallery.com

Untitled Film Still #48, 1979

42 | thebigpicture March2009 43
partingshot imitation is the sincerest form of flattery...

No 1

THE GR E AT
TR AIN ROB B E RY
EDWIN S.PO RT E R
{1903 }
The scene that had people
literally ducking for cover
BY MOLLY BE N N E TT

Considered to be the first film to use narrative


sequence, The Great Train Robbery represented a
significant step in movie making. The final shot of a
gun being fired toward the camera had a profound
effect on audiences. As cinema was in its infancy,
many people who saw the film thought that they
were actually about to be shot. This same image
has been referenced numerous times by directors
as a respectful tip-of-the-hat homage.

THE S AME BUT DIF FER ENT

Goodfellas (1995)
Martin Scorsese

American Gangster (2007)


Ridley Scott

Kobal (1)
44 | thebigpicture March2009 45
Backpages Backpages

Film Resources Film Index


Continue your journey into the wonderful world of moving pictures So you’ve read about the films, now go watch them!

Rocky III (1982) Alien (1979)


FILM COURSES FILM COURSES www.cinemastyles.blogspot.com BOOKS ON FILM REFERENCE BOOKS SPECIAL INTEREST Dir. Sylvester Stallone Dir. Ridley Scott
FOR THEORY FOR PRODUCTION great links to other blogs. Good United Artists 20th Century Fox
focus on older films The Story of Film Complete A-Z Media and Film British Film Posters: g see page 5/6 g see page 18
Talking Pictures Intro to the Camera Mark Cousins Studies Handbook An Illustrated History
Price: £105 / 18-22 August £287.88 / 2 days www.davidbordwell.net/blog Good introduction to the subject Vivienne Clark, Bill Malyszko Sim Branaghan, Steve Chibnall Breakfast at Ti�any’s (1961) Vertigo (1958)
University of Edinburgh Raindance Ltd. blog from a leading film scholar that charts the evolution of A thorough dictionary for film first complete history of the Dir. Blake Edwards Dir. Alfred Hitchcock
Paramount Pictures Paramount Pictures
An opportunity to watch and Contact Elliot Grove the media through films and enthusiasts subject which brings together a
discuss films Tel. 020 7287 3833 www.rubbishfilms.com directors of significance GOOD FOR BEGINNERS vast array of posters from the g see page 7 g see page 26

A beginners introduction to cult classics that are so bad GOOD FOR BEGINNERS ;;;;; golden age of British Cinema The Widow Jones (1896) Jaws (1975)
Film and Television History working with a camera they’re good ;;;;; GOOD FOR BEGINNERS Dir. William Heise Dir. Steven Spielberg
Price: £610 / Feb - Oct The Cinema Book, 3rd Edition ;;;;; Edison Manufacturing Company Universal Pictures
Open University 99 Minute Film School davidjobe.blogspot.com BFI Film Classics by Pam Cook g see page 7 g see page 26
Charting the history and impact Short Course about underground filmmaker Various editors A comprehensive guide to Film Posters of the 60s,
Gone With The Wind (1939) Goodfellas (1990)
of film on society £30 inc VAT / 99 min David Jove In-depth dissection of classic films modern cinema including case 70s, 80s and 90s:
Dir. Victor Fleming Dir. Martin Scorsese
Raindance Ltd GOOD FOR BEGINNERS studies by leading film scholars An Illustrated History Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures
Understanding Film Contact Elliot Grove www.ukfilmcouncil.org.uk/blog ;;;; GOOD FOR BEGINNERS Tony Nourmand and
g see page 8 g see page 27
Price: £120 / 13 Oct - 13 March Tel. 020 7287 3833 good for film-making support ;;;;; Graham Marsh
University of Exeter A beginners course that covers Film Form & Culture Great pictoral resource of film Cruel Intentions (1999) La Haine (1992)
Examining di�erent films the basics of shooting a film. Just film.guardian.co.uk Robert Phillip Kolker Film History: An Introduction posters from an archive based at Dir. Roger Kumble Dir. Mathieu Kassovitz
to broaden and further what it says on the tin then. good place to start for beginners Breaks film down into its various David Bordwell and the Reel Poster Gallery in London Columbia Pictures Canal+
understanding of cinema looking for friendly, informative components to teach newcomers Kristin Thompson GOOD FOR BEGINNERS g see page 9 g see page 27
Summer Film School writing on film the inner workings of the medium The ideal reference book with ;;;;; Planet of the Apes (1961) The Lord of the Rings: The
Television Glossary £54 / 5 days GOOD FOR BEGINNERS detailed and easily accessible Dir. Franklin J. Scha�ner Fellowship of the Rings (2001)
free / 60 min / BBC Aberdeen College WEBSITES ;;;;; discussions of film theory and Stars: New Edition APJAC Productions Dir. Peter Jackson
An online crash course in tv Contact Paul Adderton history Richard Dyer g see page 9 New Line
vocabulary and terminology Tel. 01224 612 063 www.raindance.co.uk Approaches to Popular Film GOOD FOR BEGINNERS discussion of star studies looking g see page 27
Learn the tricks of the trade to The company website that o�ers Joanne Hollows ;;;;; at the significance of stars in film ET (1982)
Dir. Steven Spielberg The Third Man (1949)
Popular Cinema and Audiences set you on your way to greatness various film courses An introduction to popular film GOOD FOR BEGINNERS
Universal Pictures Dir. Carol Reed
Price: £195 / 9 weeks and methods of analysis Film Studies Dictionary ;;;;; London Film Productions
g see page 10
University of Cambridge DV Camera Shooting Guides www.bfi.org GOOD FOR BEGINNERS Steve Blandford and
g see page 18/19
Looking at the role of audience free / 50 min / BBC the Brithish Film Institute’s ;;;;; Barry K. Grant British Cinema: City of God (2002)
and film reception to popular An online BBC guide to working great directory for everything Reference bridge between A Critical History Dir. Fernando Meirelles Amadeus (1984)
cinema with DV cameras for beginners media related Film: A Critical Introduction, theoretical and technical texts By Amy Sargeant Buena Vista Dir. Milos Forman
and amateurs 2nd edition with a complete reference presentation and discussion of g see page 10 Warner Bros. Pictures
British Cinema in World War II www.cinemedia.org Maria Pramaggiore and ADVANCED STUDY British cinema over the years by g see page 22/23
La Dolce Vita (1960)
Price: £204 / 29-31 Aug Good Shooting Guide: collection of links“internet’s Tom Wallis ;;;;; one author Dir. Federico Fellini Before Sunrise (1998)
University of Cambridge the basic principles largest film and media directory” introduction and guide to writing GOOD FOR BEGINNERS Riama Films (Italy) Dir. Richard Linklater
A focused course that dissects free / BBC about and analyzing film Cinema Studies: ;;;;; Castle Rock Entertainment
g see page 10
films from the period An online intro to the basic www.britfilms.com ADVANCED STUDY The Key Concepts g see page 23/24
principles of shooting for great resource for filmmakers ;;;;; Susan Hayward Cindy Sherman: A Place in the Sun (1951)
Fiction into Film beginners and amateurs and audiences with directory A basic introduction to theory, The Complete Untitled Dir. George Stevens The Great Train Robbery (1903)
£95 / 10 meetings of festivals, filmmaker info and Film Studies: directors and approaches along Film Stills Paramount Pictures Dir. Edward R. Robinson
g see page 11 Edison Manufacturing Company
University of Cambridge Television Glossary training and courses Critical Approaches with a whole host of other by Peter Galassi
Adaptation free / 60 min / BBC John Hill and essential pieces of information Containing the full collection of g see page 40
From Here to Eternity (1953)
A short online crash course in tv www.cineuropa.org Pamela Gibson Church ADVANCED STUDY 69 photographs from Sherman’s Dir. Fred Zinnemann American Gangster (2007)
Film and US Foreign Policy terminology for beginners and similar to IMDB (but not quite Great discussion of various film ;;;;; influencial image series Columbia Pictures Dir. Ridley Scott
£214 / 17-21 April amateurs as good), the site includes film theories and approaches GOOD FOR BEGINNERS g see page 12 Paramount Pictures
University of Cambridge profiles, databases and news. ADVANCED STUDY Teach Yourself Film Studies ;;;;;
Examining how film is viewed FILM BLOGS Co-funded by the MEDIA Plus ;;;;; Warren Buckland
as both entertainment and Programme of the European A history of cinema, analysis of American Drive-in
propoganda www.cinematical.com Commission A Companion to Film Theory genres and directors, dicussion Movie Theater GET INVOLVED IN thebigpicture
An easy to navigate blog with a Toby Miller & Robert Stam of techniques plus loads more by Don & Susan Sanders
The Evolution of the wide variety of subjects covered www.eidc.com An introduction to the complex ADVANCED STUDY Tracing the history, geography, would like to write for the Big Picture?
Hollywood Musical A nonprofit organization world of film theory. Only for the ;;;;; and ideology of the American Just send us a few samples of your writing along
£214 / 6-8 March www.filmschoolrejects.com that wants to link production truly committed! drive-in movie theater with a short personal bio to Gabriel Solomons:
University of Cambridge A wide variety of great features companies with the communities ADVANCED STUDY GOOD FOR BEGINNERS
An examination of musicals covering the world of film where they film ;;;;; ;;;;; info@thebigpicturemagazine.com

46 | thebigpicture March2009 47
DIALOGUE AROUND
THE MOVING IMAGE

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