Filmproduktion: teknik og tekniske discipliner

Med en karriere, der strakte sig over 24 film, er Jan Priskorn Schmidt til dato dansk films mest benyttede barneskuespiller. I sin tolv år lange karriere spillede han sammen med filmbranchens største danske stjerner, som Dirch Passer, Ove Sprogøe og Ghita Nørby, og medvirkede i film som Sommer i Tyrol, Min søsters børn og Flådens friske fyre. I en alder af bare 21 år trak Jan Priskorn Schmidt sig tilbage fra offentligheden. Gennem 45 år har han undgået enhver kontakt med pressen og medierne, og forsøgt at lægge tiden som skuespiller bag sig. Indtil nu. 'Barnestjernen fra Bryggen' er Jans personlige fortælling om en turbulent barndom som landskendt skuespiller og en ungdom præget af angst, virkelighedsflugt og bevidsthedsudvidende stoffer. Jan Priskorn Schmidt fortæller ærligt og åbenhjertigt om sin barndom i dansk film og i arbejderkvarteret på Islands Brygge, om livets op- og nedture, om tidens store ikoner og om de indre dæmoner. Det er en fortælling om en ung mand, der fik en filmkarriere forærende, og som valgte at vende den ryggen, at gå sine egne veje og tage kampen op med sig selv og omverdenens konstante opmærksomhed … 'Barnestjernen fra Bryggen' er blevet til i samarbejde mellem Jan Priiskorn Schmidt og journalist Klaus Thodsen, igennem en lang række interviews. Bogen er illustreret med en lang række private fotos, filmbilleder, fotos fra lokalhistoriske arkiver og avisartikler.

Michael Wikke og Steen Rasmussen har siden begyndelsen af 1980’erne underholdt flere generationer af danske tv-seere og biografgængere med deres morsomme, anarkistiske, musikalske, poetiske, godhjertede og unikke tv-serier, radioføljetoner og film: Pas på varerne, Arne!, Tonny Toupé Show, Sonny Soufflé Chok Show, Russian Pizza Blues, Hannibal & Jerry, Flyvende farmor, Der var engang en dreng – som fik en lillesøster med vinger, Julestjerner og senest Gooseboy – for nu blot at nævne nogle få af deres mange projekter.Wikke & Rasmussen har deres helt egen kærlige, lunt satiriske tone og kulørt poetiske visuelle stil, og man er aldrig i tvivl om, hvornår man ser en af deres film eller tv-serier. De fortæller opbyggelige, positive historier om verden – ikke som den er, men som de gerne vil have, at den skal være – og om sjove, skæve figurer, der alligevel ikke er så forskellige fra alle os andre.Christian Monggaard har kendt det produktive makkerpar siden slutningen af 1990’erne, og han dykker i Brug dit hjerte som telefon – Wikke & Rasmussens forunderlige rejse dybt ned i de to herrers baggrund, deres mangeårige samarbejde og det smukke, omfattende værk, som har vist sig at have en sjælden tidløshed og dermed også holdbarhed og universalitet. Det er både et hyldestportræt og en undersøgelse af, hvad der har formet Wikke & Rasmussen - og hvordan de har formet os.

Lars von Triers film- og tv-produktioner har siden hans biografdebut med The Element of Crime i 1984 udløst stærke reaktioner hos publikum, og desuden har han vakt opsigt i hele filmverdenen med Dogme 95-manifestet. I dag regner mange Trier blandt de største nulevende filminstruktører, og med hver ny film forventes han at sætte nye standarder for, hvad filmmediet kan. I denne bog undersøges Lars von Triers affektskabende og etisk involverende stil med udgangspunkt i hans værker over en 30-årig periode, helt op til hans seneste film, Nymphomaniac. Centralt i Bodil Marie Stavning Thomsens læsninger står væsentlige analytiske begreber som det haptiske, det affektive, det diagrammatiske og det signaletiske materiale, der med Gilles Deleuze anvendes til at betegne det, der i filmene undslipper en repræsentationel analyse. Lars von Triers fornyelse af filmen 1984-2014 giver en omfattende læsning af Lars von Triers værker i lyset af Deleuzes (film)filosofi og udfolder en ny affektdiagrammatisk filmteori. Løbende inddrages Gilles Deleuzes og Félix Guattaris filosofiske arbejder, samt bl.a. Brian Massumis fortolkning af Baruch de Spinozas affektbegreb og C.S. Peirces diagrammatiske tegn. Bogen giver således en nytænkende analyse og diskussion af samtlige hovedværker af en af vor tids mest anerkendte filminstruktører. Bodil Marie Stavning Thomsen, ph.d., professor mso ved Nordiske studier, Institut for Kommunikation og Kultur, Aarhus Universitet.

Et personligt bud på, hvordan man arbejder journalistisk med DV-kameraet. I bogen præsenteres nye metoder for, hvordan man strukturerer og fortæller en tv-historie. Bogen gennemgår teknikken i DV-kameraet og giver råd om, hvordan man laver det gode billede, den fine lyd og den skarpe redigering.

Here is a look behind the frozen fjords and ice caves of Berk at the making of the sequel to a beloved animated classic. This full-color, lavishly illustrated book features more than 650 paintings, drawings, sketches, models, film stills, lighting studies, color keys, story boards, and photographs. Along with quotes from all the principal filmmakers there is also an introduction by the writer/director Dean DeBlois and a foreword by Gerard Butler, the voice of Stoick.In this brilliantly conceived sequel, we are on a journey of exploration to new lands, four-winged dragons, long-lost love, vicious and powerful enemies, and ginormous Bewilderbeasts.How does a movie of such imagination and magnitude come into creation? Well, you begin with an incredibly talented team of artists, writers, engineers, animators, modelers, and tech wizards and you let their creativity soar. The result is a stunning, original vision?bigger, better, and fiercer than ever?of an earth-shattering, fire-breathing sequel to the legendary story of Vikings and dragons in the frozen north.Hold on to your dragons, fans and friends, you're in for the ride of a lifetime!

This book examines the work and art of Bill Douglas, thirty years after his death.Douglas made only a small body of work during his lifetime: The Bill Douglas Trilogy, based on his deprived childhood in Scotland; and Comrades, his epic on the Tolpuddle Martyrs; but he is acknowledged by many as one of Britain's greatest filmmakers. His films inspire a depth of passion in those that have seen them, and interest in his work has intensified over the years, both within the UK and overseas.This is the first work to examine Douglas's life and career through archive material recently made available to researchers. Editors Amelia Watts and Phil Wickham have carefully selected a range of voices-both scholars and practitioners-to reappraise Douglas's career from a variety of angles. The book raises important questions about Douglas's status as an artist, and reflects on his struggles within the film industry of the 1970s and 1980s in order to consider the attendant difficulties of working within a collaborative and commercial medium such as cinema. The volume also explores the wider legacy of this film artist, through the collection on moving image history he assembled with Peter Jewell, which became the foundation of the Bill Douglas Cinema Museum. It will appeal to film students and scholars, and the small but committed group of general readers who are interested in Douglas's work.The book has a foreword by the renowned filmmaker Mark Cousins, who, like many other contemporary directors, is a great enthusiast for Douglas's work.

Before he was the Academy Award-nominated director of The Last Picture Show, Peter Bogdanovich (1939-2022) interviewed some of cinema's great masters: Orson Welles, Alfred Hitchcock, John Ford, and others. After becoming an acclaimed filmmaker himself, he gave countless interviews to the press about his own career. This volume collects thirteen of his best, most comprehensive, and most insightful interviews, many long out of print and several never before published in their entirety. They cover more than forty years of directing, with Bogdanovich talking candidly about his great triumphs, such as The Last Picture Show and What's Up, Doc?, and his overlooked gems, such as Daisy Miller and They All Laughed. Assembled by acclaimed critic Peter Tonguette, also author of a critical biography of Bogdanovich, these interviews demonstrate that Bogdanovich was not only one of America's finest filmmakers, but also one of its most eloquent when discussing film and his own remarkable movies.

Though he has made only five films in two decades-Strictly Ballroom, William Shakespeare's Romeo + Juliet, and the Oscar-nominated films Moulin Rouge!, Australia, and The Great Gatsby-Australian writer-director Baz Luhrmann is an internationally known brand name. His name has even entered the English language as a verb, as in "e;to Baz things up,"e; meaning "e;to decorate them with an exuberant flourish."e; Celebrated by some, loathed by others, his work is underscored by what has been described as "e;an aesthetic of artifice"e; and is notable for both its glittering surfaces and recurring concerns. In this collection of interviews, Luhrmann discusses his methods and his motives, explaining what has been important to him and his collaborators from the start and how he has been able to maintain an independence from the studios that have backed his films. He also speaks about his other artistic endeavors, including stage productions of La Boheme and A Midsummer Night's Dream, and his wife and collaborative partner Catherine Martin, who has received two Academy Awards for her work with Luhrmann.