American Cinematographer - December 1988 - 26

UCLfl
EXTENSION
ENTERTAINMENT

STUDIES

Professional

Training in
Cinematography
This Winter
>

INTENSIVE CINEMATOGRAPHY
WORKSHOP: LOCATION LIGHTING.

STAGING, AND COMPOSITION
under the guidance of a

leading cinematographer.
Taught in the past by
Woody Omens, ASC.
*ARRIFLEX CERTIFICATION FOR
CAMERA ASSISTANTS to be
conducted at the Arriflex

facility. Participants will acquire
certification on all Arriflex
cameras and accessories.
*THE EASTMAN KODAK SEMINAR
IN FILM STOCKS, PROCESSING,
AND EXHIBITION FORMATS

coordinated by Donald B.
Adams and John L. Mason,
sales and engineering repre¬
sentatives in the Motion
Picture and Audiovisual
Products Division, Eastman
Kodak Company
*TECHNIQUES AND ISSUES IN
CONTEMPORARY CINEMATOGRAPHY
conducted by Harry Mathias,

Academy Award-nominated
director of photography with
20 years in the industry.
*

CINEMATOGRAPHY II: THE
CAMERA AND THE IMAGE;
instructor to be announced.
Call Ms. Allen,

Performing Arts

(213) 825-9064 for more infor¬
mation or to request the free
Winter Quarter 1989 film,
television and video catalog.
Or write UCLA Extension,

Performing Arts-Entertainment
Studies, P.O. Box 24901,
Los Angeles, CA 90024-0901.
Winter Quarter

January 3

24

Begins

by George L. George
Prof. Bruce F. Kawin's comprehensive text,
How Movies Work, covers all aspects of
the film medium in a highly readable, infor¬
mative and scholarly fashion. Theoretical,
esthetic and technical aspects of cinema are

investigated in extensive detail, offering a
thorough understanding of stylistic con¬
cepts, artistic considerations, and factual
elements of film production and apprecia¬
tion. Numerous examples clarify the text
through references to specific movies, con¬
tributions of creative and technical person¬

nel, and

common

production practices.

director Lisa Jones) publishes his script
of School Daze, together with a detailed and
often hilarious account of the film's produc¬
tion. (Fireside, NYC, $9.95).
It is easy, and tempting, for a
screenwriter to satirize Hollywood, and
Ben Stein does it without remorse or apol¬
ant

ogies in Hollywood Days, Hollywood
Nights. His chronicle takes us to producers'
offices, fancy restaurants and hospitable
homes, bidding us meet an array of bizarre
and outrageous people trying to reconcile
reality with Hollywood fantasy. (Bantam,

(Macmillan, NYC, $24.05).
Edited by Wes D. Gehrig, Hand¬

NYC, $7.95).

book of American Film Genres classi¬

Abel, French Film Theory and Criti¬

fies, in 18 groups, movies related by a

cism examines

similarity of subjects and/or themes. Each
genre, from gangster to parodies and musi¬
cals, is significantly discussed in welldocumented essays, supplemented by sub¬
stantial biblio- and filmographies. (Green¬
wood, Westport, CT, $55).
Updating an earlier volume, The
Great Western Pictures II includes
400 films released since 1976 and
adds some overlooked in the original edition.
some

Compiled by J.R. Parish and M.R. Pitts, the
book provides extensive cast-&-credits,
plot synopses and reviews. (Scarecrow,
Metuchen, NJ, $45).
A gifted photographer with a
keen eye for the incongruous and the unex¬
pected, David Strick assembles in Our Hol¬
lywood 65 stills that sneak brazenly
behind Tinseltown's public image. (Atlantic
Monthly, NYC, $24.95). In Hollywood
Anecdotes, PL. Boiler Jr. and R.L. Davis
compile an entertaining treasury of humor¬
ous stories that poke fun at the foibles of
the movie

capital. (Ballantine, NYC, $10.95).
Ingmar Bergman, in The Mar¬
riage Scenarios, collects 3 of his bestknown scripts. They reveal the directors
deep understanding of human relationships,

further demonstrated in his

insightful com¬
mentary. (Pantheon, NYC, $9.95). In Uplift
the Race, director Spike Lee (with assist¬

December 1988

An historic survey

by Richard

some 150 analytical studies
of cinematic concepts published between
1907 and 1939, prior to Andre Bazin's original

Prof. Abel's anthology presents a
comprehensive 2-vol. survey of these early
writings, contributing notably to the knowl¬
edge and understanding of film theory.
(Princeton U. Press, Princeton, NJ, $49.50
(Vol. I), $35 (Vol. II).
In Screening the Holo¬
caust, Prof. I Ian Avisar analyzes percep¬
tively the depiction of Nazi atrocities and
their victims' suffering in a number of U.S.
and foreign films. He argues that the unprec¬
essays.

edented nature of these events presents
artists with special problems, and finds that

they were generally solved in effective and
meaningful ways. (Indiana U. Press, Bloom¬
ington, $35/12.50).
The role of films in the evolution
of social structures is examined by Marc
Ferro in Cinema and History. Citing such
movies as The Third Man, On The Water¬

front, Battleship Potemkin and The Bicycle
Thief, Ferro identifies film as both an agent
of historical

change and a witness to its
unfolding. (Wayne State U. Press, Detroit,

$27.95/12.95).
Director Pier Paolo Pasolini's rep¬
beyond his films to his

utation extends

theoretical and philosophical writings. In
Heretical Empiricism, he deals, among
American Cinematographer - December 1988

Table of Contents for the Digital Edition of American Cinematographer - December 1988
