American Cinematographer - November 1987 - 12

MOTION PICTURE
AND VIDEO

SPECIALISTS

The

Bookshelf

by George L. George
A

COLT

HELICOPTER LTD.

pioneer film cartoonist who pro¬
foundly influenced the development of
animation is portrayed by John Canemaker in Winsor McCay: His Art
and Life.

It

traces

the evolution of

McCay's gifted draftsmanship, unique
imagination and daring story-tell¬
ing concepts as demonstrated in the

visual

Dreams of

a

Rarebit Fiend series and

the celebrated Gertie the Dinosaur

car¬

Canemaker's lavishly illustrated
book is an eloquent statement of Mc-

toon.

Cay's contribution (Abbeville, NYC,
$49.95).
In Truffaut by Truffaut, texts,
documents and photographs, speaking
in the voice of one of the most influen¬
tial contemporary directors, reveal the
essential nature of Francois Truffaut's

personality. Assembled by Dominique
Rabourdin, this rich collection illumi¬
nates

Truffaut's method of

dealing with

story, performers and production, as
well as his overall approach to cinema

FLYING

TIGER

COMMUNICATIONS INC.

(Abrams, NYC $42.50; $50 after
1/1/88).
Soviet filmmaker Andrey Tar¬
kovsky, who died last year in Paris,
wrote Sculpting in Time, an artistic
testament that sums up his concepts of

*

155 WEST 18th ST.
NEW YORK, NY 10011
212-929-1156
10

$27.50).
A film genre as old as the
medium itself is surveyed in a compre¬
hensive reference volume, The En¬

cyclopedia of Horror Movies.
Expertly edited by Phil Hardy and a
large staff, it describes 1300 films
whose diverse plots and story angles
scared audiences ever since Georges
Melies's 1896 The Haunted Castle.
Abundant illustrations provide a suitable
framework to the entries' detailed syn¬
opses

(Harper & Row, NYC, $34.50).
The interaction between cul¬

and

politics is knowledgeably ana¬
lyzed by James Hay in Popular Film
Culture in Fascist Italy. Hay dis¬
cusses the way Italian movies of the
1920s and 30s reshaped social and
political realities, prompted by the de¬
sire to project a modern image of the
country and yet retain its traditional val¬
ues (Indiana U. Press,
Bloomington,
ture

$37.50/14.95).
A quarter century of James
Bond films is hailed in Sally Hibbin's
The Official James Bond 007 Movie

Book,

a

colorful compendium of all the

cinema's esthetic and social roles. Com¬

distinctive features

bining autobiography and creative in¬
spiration, Tarkovsky traces the inner
stimuli of such films as the long-suppressed Andrey Rublyov and The Sac¬
rifice, whose visionary Bergman-like
mood defines human relationships in a
higher form of spiritual life (Knopf,

vaceous

NYC,

LOCATIONS * AERIALS
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GYRO-STABILIZED
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original style he developed in later
movies, (Scarecrow, Metuchen, NJ,

$22.95).
Well-known

action plots, cur¬
ex¬

otic weapons - that graced the saga of
the celebrated secret agent (Crown,

NYC,

$14.95).
In Gone With The Wind

Book

and

Film,

Richard

as

Harwell

gathers

a fascinating and well-re¬
sampler of the abundant litera¬
about Margaret Mitchell and her

searched
as

the director of

successful "spaghetti westerns,"
Sergio Leone steadily expanded his filmmaking skills, culminating in his 1984
Ladd/Warners epic, Once Upon a Time
in America. Robert C. Cumbow's lively
and detailed study of Leone's films,
many

Once Upon a Time, discusses his debt
to the American western and the highly

November 1987

-

ladies, devilish villians and

ture

book, and the circumstances surround¬

ing the making of the film (Paragon,
$8.95).
Mary Unterbrink's engaging
study, Funny Women, examines na¬

NYC,

tive comediennes who, between 1860
and 1985, brought laughter to American
vaudeville, radio, television and movies.
American Cinematographer - November 1987

Table of Contents for the Digital Edition of American Cinematographer - November 1987
