Here are 100 books that Skywalking fans have personally recommended if you like
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I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’sThe Generaland Stanley Kubrick’sDr. Strangeloveand2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.
Published in 2016, four years after George Lucas had sold Lucasfilm Ltd., and with it the Star Wars franchise, to Disney, this is a worthy successor to Dale Pollock’s groundbreaking biography (first published in 1983 and last updated in 1999).
Brian Jay Jones brings that book’s story of an extraordinary filmmaker, who showed surprisingly little interest in movies during his early youth and then spent several years focusing on experimental short films before changing Hollywood with a series of huge blockbusters and newly formed businesses, to what appears to be its conclusion: since 2012 Lucas has largely withdrawn from filmmaking.
The book is not only very informative but in places, especially in the last chapter, also quite moving.
George Lucas by Brian Jay Jones is the first comprehensive telling of the story of the iconic filmmaker and the building of his film empire, as well as of his enormous impact on cinema. At once a biography, a business manual, and a film history, George Lucas will, for the first time explore the life and work of a fiercely independent writer/director/producer who became one of the most influential filmmakers and cultural icons - a true game changer.
On May 25, 1977, a problem-plagued, budget-straining, independent science fiction film opened in a mere thirty-two American movie theatres. Its distributor -…
I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’sThe Generaland Stanley Kubrick’sDr. Strangeloveand2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.
Apart from presenting George Lucas in his own words, this book offers a concise introduction to his career, including a chronology and a filmography.
The interviews collected herein go from a May 1971 article in theSan Francisco Chronicle about the young filmmaker whose first feature, the rather abstract Science Fiction dramaTHX 1138, had just come out (and flopped!), all the way to a conversation with the Los Angeles Times in January 1999 about the forthcoming release of the firstStar Wars prequelStar Wars: Episode I – The Phantom Menace.
Despite dramatic changes in Lucas’s status as a filmmaker (and businessman) across this period, the interviews reveal striking continuities, notably his striving for maximum control over his films and business affairs.
A director, producer, and writer, George Lucas is the power behind ""The Force."" The son of a conservative small-town businessman, he grew up to become arguably the most identifiable and popular filmmaker in the history of the medium. Yet unlike his more publicly engaged contemporaries, Lucas rarely grants reporters an audience. This first book of Lucas's interviews affords fans and students of film and science fiction a rare opportunity. Editor Sally Kline collects conversations from the reticent director spanning Lucas's entire career, from the making of his first film, 1971's THX-1138, through American Graffiti, the triumph of the Star Wars…
I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’sThe Generaland Stanley Kubrick’sDr. Strangeloveand2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.
This lavishly illustrated large-format volume takes the reader from George Lucas’s childhood and early youth to his years at film school and his subsequent Hollywood career as a director, writer, and producer, with a particular emphasis on the production histories of his key films.
With unprecedented access to countless interviewees and archival materials, Hearn brings George Lucas and the making of his films to life.
Apart from telling compelling stories, he also reproduces a wide range of documents for the reader’s perusal so that the book may serve as an archive in its own right (and I have certainly used it precisely in this way in my own research).
Acclaimed filmmaker George Lucas reinvigorated the science-fiction genre more than 25 years ago with Star Wars, one of the greatest epics and cultural icons of its generation. He has enthralled audiences with his grand vision, mythic narratives, and groundbreaking visual effects ever since, and he remains a pivotal figure in American cinema: Star Wars: Episode II (2002) was the first film to be shot entirely with state-of-the-art digital cameras, and Star Wars: Episode III, Revenge of the Sith is set for release on May 19, 2005. Marcus Hearn draws on exclusive interviews-as well as unprecedented access to the Lucasfilm archives-to…
I have turned my childhood fascination with Hollywood into an academic career. For four decades I have explored, not least through extensive archival research, all aspects of the history of American cinema – films, filmmakers, studios, production histories, marketing campaigns, critical reception, audiences. Among other books, I have published three volumes in the British Film Institute’s Film Classics series (on Buster Keaton’sThe Generaland Stanley Kubrick’sDr. Strangeloveand2001: A Space Odyssey). I have focused on some of the most highly acclaimed, most commercially successful, most ardently loved, and most influential movies of all time. The starting point for my work is always my passionate engagement with particular movies.
This short but very informative and stimulating book in the BFI Film Classics series was first published in 2009, with a new edition coming out in 2020.
Brilliantly illustrated with screenshots from Star Warsand some of the films George Lucas’s most famous production was influenced by, Will Brooker combines a meticulous analysis of the style, story, and themes of Star Wars with important details about the film’s production history and illuminating references to Lucas’s previous films and to the Star Wars saga as a whole.
The release of Star Wars in 1977 marked the start of what would become a colossal global franchise. Star Wars remains the second highest-grossing film in the United States, and George Lucas's six-part narrative has grown into something more: a culture that goes far beyond the films themselves, with tie-in toys, novels, comics, games and DVDs as well as an enthusiastic fan community which creates its own Star Wars fictions. Critical studies of Star Wars have treated it as a cultural phenomenon, or in terms of its special effects, fans and merchandising, or as a film that marked the end…
I was old (or young) enough to have only seen two Kubrick films in the cinema: Full Metal Jacket and Eyes Wide Shut. I began teaching film studies and Hollywood in 1998, and I have been teaching and researching Kubrick intensively since 2007, visiting his archive in London on numerous occasions. At one point, I held the record for the researcher who had spent the most hours in the Archive. I also met Christiane and Jan and spoke to many others who knew and worked with Kubrick. Having been familiar with Robert Kolker’s work, it became clear that collaborating with an international authority on film was a necessity as well as a pleasure.
Peter Biskind chronicles the rise of New Hollywood in the 1970s, featuring such "movie brat" directors as Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. But he also refers to such older directors as Stanley Kubrick.
It’s written in a chatty and easy-to-read style and is full of useful tidbits of information about Kubrick and especially his new backers at Warner Brothers.
When the low-budget biker movie Easy Rider shocked Hollywood with its success in 1969, a new Hollywood era was born. This was an age when talented young filmmakers such as Scorsese, Coppola, and Spielberg, along with a new breed of actors, including De Niro, Pacino, and Nicholson, became the powerful figures who would make such modern classics as The Godfather, Chinatown, Taxi Driver, and Jaws. Easy Riders, Raging Bulls follows the wild ride that was Hollywood in the '70s -- an unabashed celebration of sex, drugs, and rock 'n' roll (both onscreen and off) and a climate where innovation and…
I’ve loved weird horror from a young age, and that passion only grew as the years went on. It all started when I was ten, and I got an anthology of classic horror for my birthday. Inside I read The White People by Machen, Cast the Runes by MR James, and The Colour Out of Space by Lovecraft, and I was hooked. Ever since then I chased that same thrill of the horror that is so out there and strange it just breaks your brain and changes you inside out. I have a feeling I’ll be chasing that obsession until the end of my days.
Another fun bit of psychedelic folk horror, combined with a really cool history of the experimental films of Canada.
The narrator is compelling, and the whole time you feel the pull of her obsession to the film she’s looking into, even if it unsettles her and terrifies her at the same time. Love that pull of danger, wanting to look, to see, but knowing that doing so will probably kill you…
The award-winning author of the Hexslinger Series "explores the world of film and horror in a way that will leave you reeling" (Jeff VanderMeer, author of the Southern Reach Trilogy).
Former film teacher Lois Cairns is struggling to raise her autistic son while freelancing as a critic when, at a screening, she happens upon a sampled piece of silver nitrate silent footage. She is able to connect it to the early work of Mrs. Iris Dunlopp Whitcomb, the spiritualist and collector of fairy tales who mysteriously disappeared from a train compartment in 1918.
I'm a London-based critic, author, and host whose love affair with film began after seeing The Lion King in the cinema as a kid. I trained as a journalist because I wanted to talk about the world. Since then I’ve been covering film and culture for the likes of Empire Magazine, Time Out, and IGN. I co-host MTV Movies and the weekly film reviews podcast Fade to Black; co-founder of The First Film Club event series and podcast, and am a member of London's Critics' Circle. I'm a voice for gender equality, diversity, and inclusion in the entertainment industry and an advocate for MENA representation as a writer of Tunisian heritage.
A massive influence on my own cultural approach to understanding cinema and intersectional representation, hooks offers acute analyses of the way films can affect us on a personal, political, and communal level, for better and for worse.
Hooks is smart, sharp, and switched on to how misogyny and racism can adversely affect the treatment of female characters of colour, especially.
Movies matter - that is the message of Reel to Real, bell hooks' classic collection of essays on film. They matter on a personal level, providing us with unforgettable moments, even life-changing experiences and they can confront us, too, with the most profound social issues of race, sex and class. Here bell hooks - one of America's most celebrated and thrilling cultural critics - talks back to films that have moved and provoked her, from Quentin Tarantino's Pulp Fiction to the work of Spike Lee. Including also her conversations with master filmmakers such as Charles Burnett and Julie Dash, Reel…
I worked for 27 years at The Washington Post, where I won a Pulitzer Prize for International Reporting. But when I returned home in 2006, I wanted to write about my own country, and what could be more American than the movies? They’re a wonderful looking glass into the past, and my books explore the making of an iconic movie and the historical era in which it was created. My recent ones have recounted the making of The Searchers, starring John Wayne, and High Noon, the Gary Cooper classic and its connection to the Hollywood blacklist, a time of vicious conflict eerily similar to our own troubled era.
As Hollywood’s Golden Age sputtered to a close and the old studio behemoths collapsed, United Artists became the Little Studio That Still Could, thanks largely to the discerning eye and risk-taking appetite of David Picker, its young head of marketing and production. Under his leadership, UA made deals that snagged the James Bond series, the Beatles’ two feature films, and Woody Allen’s best movies. Picker’s formula was simple—sign the most intriguing filmmakers in America and Europe to low-budget, one-movie contracts and then leave them alone to do their finest work. Picker praises his pals and lacerates his foes, including Robert Altman, Otto Preminger, and most especially Bill Cosby, whom he despised long before the sexual assault allegations. Anyone recall Cosby’s woeful Leonard Part 6?
As a massively dyslexic writer. I have always felt like I was standing outside a party I wasn’t invited to. Reading writers with diverse backgrounds and brain types from me but a common humanity makes me feel less alone. I grew up on the activist hippy side of the 60’s culture wars. I grew up poor. I went to a mostly white hippy grammar school. I went to a mostly Black inner-city high school. My oldest son is intellectually disabled. I have committed petty crimes, done drugs, been a drunk. I am one diverse mother-trucker. But then again, aren’t we all.
Marissa doesn’t label herself but seems to deal with Autism Spectrum Disorder. In her words, “The best way I can think to describe it is that there’s a beehive in my chest, and most people upset the bees. The nearer they get, the worse it is—and direct contact makes them swarm.” Marissa is more than a diagnosis. She is a film editor struggling to verbalize to producers her inner creative process. I was a film editor for many years and Little’s description of the creative process was spot on. Marissa is trapped on a movie set full of mayhem and murder. How she presents makes it hard for anyone to believe her when she discovers a killer amongst them. The book is a powerful statement on looking beyond how someone presents the truth they are speaking.
A Wall Street Journal, Seattle Times, and CrimeReads Best Mystery Book of 2020
"Funny, fast-paced, and a pleasure to read." --The Wall Street Journal
An egomaniacal movie director, an isolated island, and a decades-old murder--the addictive new novel from the bestselling author of Dear Daughter
Marissa Dahl, an up-and-coming film editor with a flair for faux pas, travels to a small island off the coast of Delaware to work with the legendary--and legendarily demanding--director Tony Rees on a feature film with a familiar logline.
Some girl dies.
It's not much to go on, but the specifics don't concern Marissa. Whatever…
I fell in love with Hollywood’s Golden Age when I first watched Psycho. From there, every new film and book from or about the era has been a journey into Hollywood’s history. I got into higher education and writing because I enjoy sharing what I’ve learned with others as much as I enjoy the learning process itself. What interests me most about Hollywood history is how the industry has interacted with American and global history. Hollywood has always had either a front-row seat or a seat at the table of history in the making. Not always on the right side of history, but always fascinating.
Wasson and Basinger are two other authors where you simply want to read everything they’ve written.
The reason I picked Hollywood: The Oral History for this list is that you have several hundred pages of Hollywood players telling their own stories. What could be better?? We get the scoop from stars, grips, screenwriters, carpenters, producers, directors, publicists, and everything in between.
What was it like to work in Hollywood in 1949? This book has your answer. What was the transition from Old Hollywood to New Hollywood like, this book has the goods.
'Absorbing . . . rippling with fun and atmosphere.' Sight & Sound
'Hollywood's ultimate oral history.' New Yorker
The greatest conversation in the history of Hollywood.
From the archives of the American Film Institute comes a unique picture of what it was like to work in Hollywood from its beginnings to its present day. Hollywood: The Oral History, lets a reader 'listen in' on candid remarks from the biggest names in front of the camera - Bette Davis, Meryl Streep, Tom Hanks, Jane Fonda, Harold Lloyd - the biggest…
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