American Cinematographer - April 1992 - 102

COLUMBIA COLLEGE-HOLLYWOOD
THE

FILM

& VIDEO

SCHOOL

A virtuoso

For 38 years Columbia College-Hollywood has been teaching Video and Film
technique and technology. We use a practical, hands on approach to
education, utilizing a faculty of industry professionals in fully equipped
facilities. Columbia College is a private, non profit, degree granting

institution. Call or write us for more information.

performance,

com¬

poser Andre Previn's autobiography, No
Minor Chords, is brimming with infec¬

tious warmth, wit and
years

insight. During his 15
in Hollywood, Previn scored some 50

films, won four Oscars, and hobnobbed with
celebrities in the movie colony [Doubleday,

NYC, $22.50\.
Two film genres are examined in
Nuclear Movies by Mick Broderick and

925 N. La Brea Ave.

Hollywood, CA 90038
(213) 851-0550

Epic Films by Gary A. Smith. Extensively
illustrated, these books cover, respectively,
900 and 250 movies, including knowledge¬
able comments

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our rental
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Good pay, based on experience;

keep

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lenses like new or better
We're perfectionists here,
so you have to enjoy working to
that high standard. Please mail
a resume and salary history to
Paul Duclos at Clairmont Camera.

profit sharing; medical benefits.
This is a permanent, full-time job.

CLAIRMONT
CAMERA

We use a Zeiss MTF machine, Rich¬
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Vineland, Studio City, CA 91604.

Summer Film School
one-week and one-month workshops in
professional film and video production, including:
Over 100,

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The Film Technology Workshop * The DP Master's Workshop
The Vilmos Zsigmond Seminars * Electronic Cinematography
Film Directing Workshop * Introduction to the Film Camera
The Film Lighting Workshop * Filters & Special Effects Workshop
The 4-week Summer Film School
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on story content, style,
performances and standard production data
(McFarland, Jefferson, NC, $35each).

David Wilt's Hardboiled in

Hollywood and William Luhr's Raymond
Chandler and Film perceptively discuss
screenwriters of the "tough guy" detective
school of literature. Singled out are Horace
McCoy (They Shoot Horses, Don't They?),
Eric Taylor (Grand Central Murder) and
Raymond Chandler (Double Indemnity),
characterized as the leading initiators of the
popular film noir genre (Bowling Green U.
Press, Bowling Green, OH, $19.95; Florida
State U. Press, Gainesville, $14.95).
Issues raised by director Ridley
Scott's Blade Runner-political, moral and
technological - are addressed in Retro¬
fitting Blade Runner, an in-depth survey
edited by Judith B. Kerman. The book cen¬
ters around the controversial application of
pure science to evil ends, embodied by the
film's handling of android "replicants" and
theirfate in future society (Bowling Green U.
Press, Bowling Green, OH, $19.95).
Literary, theatrical and artistic
sources of cinema's early days are consci¬
entiously recorded by Denis Gifford in
Books and Plays in Films, 1896-1915
Over 200 entries, arranged by author's
name, cover 239 production companies in
a dozen countries, providing complete ref¬
erences to films that, in large part, are no
longer extant (McFarland, Jefferson, NC,
$35).
Compiled by James M. Salem, A
Guide to Critical Reviews: The Musi¬
cal 1909-1989 is a detailed bibliography of
close to 3000

critiques of New York stage
shows, many of which found their way to
the screen (Scarecrow, Metuchen, NJ,
$72.50).
Correction: We regret that in the
March issue the title of David Bordwell's
excellent study, Making Meaning (pub¬
lished by Harvard U. Press), was incorrectly

stated.

A
American Cinematographer - April 1992

Table of Contents for the Digital Edition of American Cinematographer - April 1992
