How I Made 52 Films in 3 Years


Book Description

Dive into the captivating world of indie filmmaking with Blake Ridder's "How I Made 52 Films in 3 Years" - a candid, humorous, and insightful look at the highs and lows of a relentless creative journey. Discover how Blake transformed wild ideas into 50 short films and 2 feature films, all within the span of three years. In this riveting book, Blake shares his personal experiences, offering a behind-the-scenes tour of his unique filmmaking odyssey. This isn't your typical guide to filmmaking techniques; instead, you'll find a collection of stories and insights gleaned from bringing each of the 52 films to life. From the importance of collaboration to overcoming obstacles, learn how Blake honed his craft and shaped his career in the unpredictable world of indie filmmaking. As you follow along with Blake's engaging narrative, you'll discover: The power of perseverance and how to overcome setbacks The importance of building a team and collaborating with talented individuals Strategies for financing your films and navigating the world of crowdfunding Tips on casting, storytelling, and directing to bring your vision to life The role of mental health and work-life balance in sustaining a creative career "How I Made 52 Films in 3 Years" is the perfect read for aspiring filmmakers, creative individuals, and film enthusiasts seeking an inspiring, behind-the-scenes look at the world of indie filmmaking. Get ready to embark on a journey that will leave you inspired, enlightened, and ready to tackle your own creative projects.




The Bressonians


Book Description

How should we understand film authorship in an era when the idea of the solitary and sovereign auteur has come under attack, with critics proclaiming the death of the author and the end of cinema? The Bressonians provides an answer in the form of a strikingly original study of Bresson and his influence on the work of filmmakers Jean Eustache and Maurice Pialat. Extending the discourse of authorship beyond the idea of a singular visionary, it explores how the imperatives of excellence function within cinema’s pluralistic community. Bresson’s example offered both an artistic legacy and a creative burden within which filmmakers reckoned in different, often arduous, and altogether compelling ways.




Mad Eyed Misfits


Book Description

One of the most stylistically original and provocative writers in animation returns with this informal sequel to his previous books on indie animation, Unsung Heroes of Animation and Animators Unearthed. In this collection, award-winning writer Chris Robinson looks at a wide range of films and filmmakers, including cult favourites Don Hertzfeldt, Adam Elliot, Masaaki Yuasa, Wong Ping, Bruce Bickford, Jodie Mack, Rosto, Suzan Pitt, Clyde Henry and Cartoon Saloon. Eclectic, opinionated, passionate and personal, Robinson’s writing will amuse, confuse, infuriate and enlighten while introducing readers to some of the most astonishing and important animation artists from around the world.




Intellectual Property Law


Book Description

This text provides a full and clear exposition of the fundamentals of intellectual property law in the UK. It combines excerpts from cases and a broad range of secondary works with insightful commentary from the authors which will situate the law within a wider international, comparative and political context.




The Marketing of World War II in the US, 1939-1946


Book Description

From the late 1930s until December 7, 1941, isolationism and an antipathy toward war in Europe were strong political currents in the US. However, once the US entered World War II, the entire apparatus of the US government was mobilized to “market” the war to Americans who were incredulous and horrified about the attack at Pearl Harbor. Americans wanted immediate and detailed information from the US government and the nation’s media and entertainment companies about the recent military disasters. This book analyzes the complex relationships between the US government and the entire media and entertainment industries between 1939 and 1946. The US government realized in early 1942 that it needed to forge an alliance with the media and entertainment industries to create and maintain support for the war. The Office of War Information (OWI) was the US government agency acting as the liaison between Washington and the diverse media and entertainment industries; and all of them confronted a series of major issues and concerns to convince Americans to support the war effort. This book offers business historians an examination of the complex and sometimes tense relationships between the OWI and the radio, magazine, newspaper, and motion picture industries.




Disney Stories


Book Description

The second edition of Disney Stories: Getting to Digital will be of interest to lovers of Disney history and also to lovers of Hollywood history in general. The first edition was planned as a short history of the companies evolution from analog storytelling to a digital online presence that closed the chapter on early Disney films with the release of the groundbreaking Snow White. The purpose of the new edition is to bring to readers a more complete view of the analog-digital story by including three new chapters on film that cover key developments from the live-animation hybrids of the 1940s to CAPS and CGI in the 1990s and VR in the 2010s. It also includes in the discussion of cross-media storytelling the acquisition of the exceptional story property, Star Wars, and discusses how Disney has brought the epic into the Disney Master Narrative by creating Galaxy’s Edge in its US theme parks. Krystina Madej’s engaging portrayal of the long history of Disney’s love affair with storytelling and technology brings to life the larger focus of innovation in creating characters and stories that captivate an audience, and together with Newton Lee’s detailed experience of Disney during the crucial 1995-2005 era when digital innovation in online and games was at its height in the company, makes for a fast-paced captivating read. Disney Stories first edition explored the history of Disney, both analog and digital. It described in detail how Walt Disney used inventive and often ground-breaking approaches in the use of sound, color, depth, and the psychology of characters to move the animation genre from short visual gags to feature-length films with meaningful stories that engaged audience's hearts as well as tickled their funny bones. It showed Walt’s comprehensive approach to engaging the public across all media as he built the Disney Master Narrative by using products, books, comics, public engagements, fan groups such as the Mickey Mouse club, TV, and, of course, Disneyland, his theme park. Finally it showed how, after his passing, the company continued to embrace Walt’s enthusiasm for using new technology to engage audiences through their commitment to innovation in digital worlds. It describes in detail the innovative storybook CD-ROMs, their extensive online presence, the software they used and created for MMORGs such as Toontown, and the use of production methods such as agile methodology. This new edition provides insight on major developments in Disney films that moved them into the digital world.













Bangladesh Cinema and National Identity


Book Description

Throughout the twentieth and early twenty-first centuries, cinema has been adopted as a popular cultural institution in Bangladesh. At the same time, this has been the period for the articulation of modern nationhood and cultural identity of Bengali Muslims in Bangladesh. This book analyses the relationship between cinema and modernity in Bangladesh, providing a narrative of the uneven process that produced the idea of "Bangladesh cinema." This book investigates the roles of a non-Western "national" film industry in Asia in constructing nationhood and identity within colonial and postcolonial predicaments. Drawing on the idea of cinema as public sphere and the postcolonial notion of formation of the "Bangladesh" nation, interactions between cinema and middle-class Bengali Muslims in different social and political matrices are analyzed. The author explores how the conflict among different social groups turned Bangladesh cinema into a site of contesting identities. In particular, he illustrates the connections between film production and reception in Bangladesh and a variety of nationalist constructions of Bengali Muslim identity. Questioning and debunking the usual notions of "Bangladesh" and "cinema," this book positions the cinema of Bangladesh within a transnational frame. Starting with how to locate the "beginning" of the second Bengali language cinema in colonial Bengal, the author completes the investigation by identifying a global Bangladeshi cinema in the early twenty-first century. The first major academic study on this large and vibrant national cinema, this book demonstrates that Bangladesh cinema worked as different "public spheres" for different "publics" throughout the twentieth century and beyond. Filling a niche in Global Film and Media Studies and South Asian Studies, it will be of interest to scholars and students of these disciplines.