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David Fincher: Mind Games is the definitive critical and visual survey of the Academy Award– and Golden Globe–nominated works of director David Fincher. From feature films Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl With the Dragon Tattoo, Gone Girl, and Mank through his MTV clips for Madonna and the Rolling Stones and the Netflix series House of Cards and Mindhunter, each chapter weaves production history with original critical analysis, as well as with behind the scenes photography, still-frames, and original illustrations from Little White Lies' international team of artists and graphic designers. Mind Games also features interviews with Fincher's frequent collaborators, including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt. Grouping Fincher's work around themes of procedure, imprisonment, paranoia, prestige and relationship dynamics, Mind Games is styled as an investigation into a filmmaker obsessed with investigation, and the design will shift to echo case files within a larger psychological profile.
David Fincher: Mind Games is the definitive critical and visual survey of the Academy Award- and Golden Globe-nominated works of director David Fincher. From feature films Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl With the Dragon Tattoo, Gone Girl, and Mank through his MTV clips for Madonna and the Rolling Stones and the Netflix series House of Cards and Mindhunter, each chapter weaves production history with original critical analysis, as well as with behind the scenes photography, still-frames, and original illustrations from Little White Lies' international team of artists and graphic designers. Mind Games also features interviews with Fincher's frequent collaborators, including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt. Grouping Fincher's work around themes of procedure, imprisonment, paranoia, prestige and relationship dynamics, Mind Games is styled as an investigation into a filmmaker obsessed with investigation, and the design will shift to echo case files within a larger psychological profile.
David Fincher's Zodiac by Matthew Sorrento,David Ryan Pdf
David Fincher's Zodiac, the first book-length study of the critically acclaimed 2007 release, offers various critical approaches to the film ranging from early influences, studies in genre and narrative, and media analysis including cinema history, game theory, musicology, and extensions in television studies.
From the Bestselling Author of 'Zodiac' , 'Auto Focus' and 'Black Fire'. DAVID FINCHER WAS AFTER THE TRUTH. WITHOUT IT, HE WOULD NOT SHOOT ZODIAC. For nearly two decades, Hollywood had been trying to make a movie of Zodiac, and for nearly two decades, it had failed. In 2003, producer Brad Fischer, and screenwriter Jamie Vanderbilt attempted the undoable, and set their sights on the one filmmaker they felt unequalled for the helm: director David Fincher (Se7en, Fight Club). Fincher’s eye for detail, probing mind, and unrelenting quest for answers made him ideal. His personal connection to the case made him perfect. From Hollywood boardrooms to remote fog-shrouded crime scenes, they battle a huge script that refuses to be beaten, a case that refuses to be solved, and a running time and budget that threaten their film. Follow as they track down missing witnesses, gather the original investigators, visit the original crime scenes, discover boxes of Zodiac case files from an attic, unearth new clues, a videotape of the prime suspect’s police interrogation, and a surviving victim who doesn’t want to be found. To keep Fincher on board, and get their film greenlit, it will take cold leads, private eyes, new evidence, and most of all, perseverance. “He’s hooked. If he doesn’t make the film, he’ll solve the case.” —Detective Ken Narlow “SOMETHING DRAWS THE GIRL’S attention,” David Fincher said. The maverick director paused at the spot along the shore Captain Ken Narlow had indicated. Something was not right. Fincher looked down at the rocky ground and the steep slope of the rotting tree as if he had not seen them before. Without a word he wheeled and walked some distance around to the adjacent peninsula. The retired detectives watched the celebrated filmmaker follow the curve of land and circle to a little inlet on the other bank. His head was down as he took long, athletic strides. Suddenly, he knelt and studied the ground. He picked up a fistful of earth, let it drift between his fingers, and watched as the wind carried the reddish particles away. He looked up at the road high above where the victims’ car had been found, then looked back at the tree. Next, he tossed a few rocks in the air and gazed to the center of the lake where it was a couple hundred feet deep. Fincher wondered what other mysteries might be buried there. Further up, underneath the dam at Devil’s Gate, was the narrow point of Putah Creek. Fincher returned from his scouting trip and made an announcement. His voice was confident and clear, ringing out over the lake. “The other side of the little island out there is much more vertical than this side,” he said. “I think that is the actual murder site.” “Let’s go over and take a look,” Narlow said and started north with Jamie Vanderbilt. “I’m not one hundred percent convinced this is the place.” When Narlow reached the other side of the inlet, he clapped a hand to his forehead and then hailed Fincher and the rest of the men across the water. “My God!” he hollered, “I took you to the wrong spot!” In that arcane way he had of penetrating to the heart of a riddle, Fincher had discerned the truth. He became quiet as he began working the puzzle of the open taxi door, the blood that should have been elsewhere, a bloody print that belonged to no one, and the shot nobody heard. “David’s considered one of the touchiest and weirdest directors by executives, but as a writer I consider him the nicest and most normal of them all. But maybe the same thing that is wrong with him is wrong with me.” —Jamie Vanderbilt, screenwriter
This book represents the culmination of Thomas Elsaesser’s intense and passionate thinking about the Hollywood mind-game film from the previous two decades. In order to answer what the mind-game film is, why they exist, and how they function, Elsaesser maps the industrial-institutional challenges and constraints facing Hollywood, and the broader philosophic horizon within which American cinema thrives today. He demonstrates how the ‘Persistence of Hollywood’ continues as it has adapted to include new twists and turns, as well as revisions of past concerns, as film moves through the 21st century. Through examples such as Minority Report, Mulholland Drive, Source Code, and Back to the Future, Elsaesser explores how mind-game films challenge us and play games with our perception of reality, creating skepticism and (self-) doubt. He also highlights the mind-game film's tendency to intervene in a complex fashion in the political moment by questioning the dominant power’s intent to program both body and mind alike. Prescient and compelling, The Mind-Game Film will appeal to students, scholars, and enthusiasts of media studies, film studies, philosophy, and politics.
Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees. Together they have over a thousand years of editing experience and have edited more than a thousand movies and TV shows. Hullfish carefully curated over a hundred hours of interviews, organizing them into topics critical to editors everywhere, generating an extended conversation among colleagues. The discussions provide a broad spectrum of opinions that illustrate both similarities and differences in techniques and artistic approaches. Topics include rhythm, pacing, structure, storytelling and collaboration. Interviewees include Margaret Sixel (Mad Max: Fury Road), Tom Cross (Whiplash, La La Land), Pietro Scalia (The Martian, JFK), Stephen Mirrione (The Revenant), Ann Coates (Lawrence of Arabia, Murder on the Orient Express), Joe Walker (12 Years a Slave, Sicario), Kelley Dixon (Breaking Bad, The Walking Dead), and many more. Art of the Cut also includes in-line definitions of editing terminology, with a full glossary and five supplemental web chapters hosted online at www.routledge.com/cw/Hullfish. This book is a treasure trove of valuable tradecraft for aspiring editors and a prized resource for high-level working professionals. The book’s accessible language and great behind-the-scenes insight makes it a fascinating glimpse into the art of filmmaking for all fans of cinema. Please access the link below for the book's illustration files. Please note that an account with Box is not required to access these files: https://informausa.app.box.com/s/plwbtwndq4wab55a1p7xlcr7lypvz64c
Discover the illustrations that inspired the historic, OSCAR®-winning film's every shot in this graphic novel drawn by Director Bong Joon Ho himself. So metaphorical: With hundreds of mesmerizing illustrations, Parasite: A Graphic Novel in Storyboardsis a behind-the-scenes glimpse at the making of one of the best films in years and a brand-new way to experience a global phenomenon. As part of his unique creative process, Director Bong Joon Ho storyboarded each shot of PARASITE prior to the filming of every scene. Accompanied by the film's dialogue, the storyboards he drew capture the story in its entirety and inspired the composition of the film's every frame and scene. Director Bong has also written a foreword and provided early concept drawings and photos from the set, which take the reader even deeper into the vision that gave rise to this stunning cinematic achievement. Director Bong's illustrations share the illuminating power of his writing and directing. The result is a gorgeous, riveting read and a fresh look at the vertiginous delights and surprises of Bong Joon Ho's deeply affecting, genre-defying story.
'Hypnotic, pitiless and told brilliantly' Bret Easton Ellis Every weekend, in basements and parking lots across America, young men with good white-collar jobs and absent fathers take off their shoes and shirts and fight each other. Then they go back to those jobs with blackened eyes and loosened teeth and the sense that they can handle anything. Fight Club is the invention of Tyler Durden, projectionist, waiter and dark, anarchic genius. And it's only the beginning of his plans for revenge on a world where cancer support groups have the corner on human warmth. Read the subversive, savagely funny novel that defined a generation.
Released in 1999, Fight Club is David Fincher’s popular adaption of Chuck Palahniuk’s cult novel, and one of the most philosophically rich films of recent years. This is the first book to explore the varied philosophical aspects of the film. Beginning with an introduction by the editor that places the film and essays in context, each chapter explores a central theme of Fight Club from a philosophical perspective. Topics discussed include: Fight Club, Plato’s cave and Descartes’ cogito moral disintegration identity, gender and masculinity visuals and narration. Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.
Film Directors and Emotion by Darragh Greene,Graham Price Pdf
Cinema is an affective medium. Films move us to feel wonder, joy, and love as well as fear, anger, and hatred. Today, we are living through a new age of sensibility when emotion is given priority over reason. Yet, there is a counter-cultural current in contemporary American cinema that offers a more nuanced treatment of emotion. Both aesthetically and eidetically, this new cinema of affect allows viewers to make up their own minds about what they feel and think. This book focuses on key films by important auteur-directors--David Fincher, Bryan Singer, Christopher Nolan, Kathryn Bigelow, Richard Linklater, Barry Jenkins, Greta Gerwig, and Pete Docter--who are to the forefront of this new cinema. It explores how they anatomize affect and how it functions in the creation or degradation of character and society.
What's celebrated as the "worst movie ever," film writer Adam Nayman explores the 1995 Paul Verhoeven film that won the Razzie and perhaps ended its star's career. He argues that Showgirls is not so bad it's good, it's so good it's mistaken for bad.
Portraits and landscapes from the cinematographer famed for his work with Sam Mendes and the Coen brothers This is the first monograph by the legendary Oscar-winning cinematographer Sir Roger Deakins (born 1949), best known for his collaborations with directors such as the Coen brothers, Sam Mendes and Denis Villeneuve. It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present. After graduating from college Deakins spent a year photographing life in rural North Devon, in Southwest England, on a commission for the Beaford Arts Centre; these images are gathered here for the first time and attest to a keenly ironic English sensibility, while also documenting a vanished postwar Britain. A second suite of images expresses Deakins' love of the seaside. Traveling for his cinematic work has allowed Deakins to photograph landscapes all over the world; in this third group of images, that same irony remains evident.
Artist Luc Jacamon and writer Matz (The Black Dahlia) deliver the definitive collection of the Eisner Award-nominated crime saga, The Killer, a hardboiled, noir series following a hitman lost in a world without a moral compass. Get inside the mind of a professional assassin, a man of few scruples, nerves of steel, and a steady trigger finger. A man whose crimes might be catching up with him. A man on the verge of cracking... After misadventures in Central and South America and having earned enough money to retire comfortably, the Killer retires to Mexico, but his colleagues are still in need of his irreplaceable skills... and before long he’s drawn back into the great geopolitical game between Cuba, Venezuela, and the United States.
When Steven Soderbergh exploded onto movie screens with sex, lies, and videotape in 1989, it represented more than the arrival of an important new director--it heralded the arrival of an entire generation of important new directors. Quentin Tarantino (Pulp Fiction), Kevin Smith (Dogma), David Fincher (Fight Club), M. Night Shyamalan (The Sixth Sense), Ben Stiller (Reality Bites), Michael Bay (Pearl Harbor), and dozens of others are all members of Generation X, the much talked about but much misunderstood successors to baby boomers. This book is a critical study of the films directed by Gen Xers and how those directors have been influenced by their generational identity. While Generation X as a whole sometimes seems to lack direction, its filmmakers have devoted their careers to making powerful statements about contemporary society and their generation's role in it. Each section of the book deals with an aspect of Gen X filmmaking, including the influence of popular culture, postmodern narrative devices, "slackerdom" and the lack of direction, disenfranchisement and nihilism, the ever-evolving role of technology, gender issues and sexuality, the question of race, the influence of older filmmakers, and visions of the future.