There is a voyeuristic thrill in contact sheets, the direct prints used by photographers of the pre-digital age to edit their work. You look directly through the photographer's eyes as each photo gets closer to that perfect shot. And yet, it's often the photos not chosen that best capture the true spirit of their subjects and the life they lead after the director yells cut. This was never truer than in the classic Hollywood era, where behind-the-scenes photos were carefully vetted for marketing purposes and unapproved shots were never expected to be seen again. Hollywood Frame by Frame presents hundreds of never-before-published photos from the sets of some of the greatest films of the twentieth century. Hollywood's biggest stars are caught with their guard down behind the scenes of movie classics from Some Like It Hot and Breakfast at Tiffany's to Taxi Driver and The Silence of the Lambs. A treasure trove for any fan of Hollywood's Golden Age, this rare glimpse of the unseen silver screen will intrigue even movie buffs who think they've seen everything.

This is your illustrated invitation to the moments when movie history was made. Photographers? contact sheets are the permanent record of every shot that they took ? and through Hollywood?s golden age, there was often a photographer on set, capturing the scene as actors and directors collaborated to produce classic movies. This book collects the contact sheets from classic movies like The African Queen (1951), Some Like it Hot (1959), Taxi Driver (1976), Grosse Point Blank (1997) and many more. Capturing legends such as Woody Allen, Audrey Hepburn, Alfred Hitchcock, Marilyn Monroe, and Frank Sinatra at work and at repose, these images offer rare glimpses into the art of moviemaking, the science of movie marketing, and the nature of stardom.

The camera’s movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920–1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called “cels”) and then photographed in succession, a labor-intensive process that was divided across scores of artists and technicians. In order to see the art, labor, and technology of cel animation, Frank slows cartoons down to look frame by frame, finding hitherto unseen aspects of the animated image. What emerges is both a methodology and a highly original account of an art formed on the assembly line.

Helen Mirren has been an internationally acclaimed actress--and the recipient of many awards, transferring between stage, cinema and television--for over 40 years. Known in her youth for a forthright style, a liberated attitude and a bohemian outlook, she has never ceased to be out of the public eye, with legions of admiring fans all over the world. This illustrated memoir is an account of an extraordinary talent, and a life well lived. Helen's aristocratic Russian grandfather, Pyotr Vasilievich Mironov, a military man, was sent to London by the Czar and found himself stranded and penniless by the Bolshevik revolution, cut off from the family estate near Smolensk. He brought with him a trunk of papers and photographs. This delightful memoir starts with the contents of the trunk, with evocative pictures of Helen's Russian antecedents. She has kept a rich seam of photo-graphs and memorabilia from her life, and her parents, family life, childhood, teenage and early years as an actress living in insalubrious flats are vividly documented. Helen's many distinguished roles in theatre, cinema and television and the illustrious men and women she has encountered are commemorated, as well as her forays into Hollywood and her sub-sequent life in the United States with her husband, film director Taylor Hackford. Golden Globe and Oscar ceremonies make their appearance, as do many stunning images of Helen by the world's leading photographers. In the Frame: My Life in Words and Pictures is a book to savour, created and written by one of the great personalities of our age.

Robert B. Ray examines the ideology of the most enduringly popular cinema in the world--the Hollywood movie. Aided by 364 frame enlargements, he describes the development of that historically overdetermined form, giving close readings of five typical instances: Casablanca, It's a Wonderful Life, The Man Who Shot Liberty Valance, The Godfather, and Taxi Driver. Like the heroes of these movies, American filmmaking has avoided commitment, in both plot and technique. Instead of choosing left or right, avant-garde or tradition, American cinema tries to have it both ways. Although Hollywood's commercial success has led the world audience to equate the American cinema with film itself, Hollywood filmmaking is a particular strategy designed to respond to specific historical situations. As an art restricted in theoretical scope but rich in individual variations, the American cinema poses the most interesting question of popular culture: Do dissident forms have any chance of remaining free of a mass medium seeking to co-opt them?

A challenge to Hollywood's one-dimensional images of African Americans.