Author:Hitchens, Gordon, ed

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Image for Film Comment: U.S.A. Film History (Fall 1969)

Film Comment: U.S.A. Film History (Fall 1969)

By: Hitchens, Gordon, ed.

Price: $25.00

Publisher: New York, Film Comment Publishing Corp.: 1969

Edition: (Vol. 5, No. 3)

Seller ID: 8795

ISBN: NO

Condition: Near Fine


[nice copy, very minor edgewear]. (B&W photographs) Illustrated article on lost films by Herman G. Weinberg; article, "The Study and Preservation of Films at the Museum of Modern Art" by Lillian Gerard; a 20-page article on Eadweard Muybridge's contribution to the motion picture; a memorial tribute to H. d'Abbadie d'Arrast; "The Serious Business of Being Funny," by Harold Lloyd; "Basic Guides for Student Film Production"; discussion of two docum... View more info

Image for Film Comment - Volume 2 (1964)

Film Comment - Volume 2 (1964)

By: Hitchens, Gordon, ed.

Price: $85.00

Publisher: New York, Johnson Reprint Corporation: 1970

Edition: 1st printing thus

Seller ID: 20954

ISBN: NO

Condition: Near Fine


[very light handling wear, short almost-vertical crease at upper right corner of front cover]. (B&W photographs) Reprint volume, reproducing all four issues of Volume 2 (No. 1, Winter 1964; No. 2, Spring 1964; No. 3, Summer 1964; No. 4, Fall 1964). By the third issue there were five people listed on the masthead as regular contributors (Robert Connolly, Edith Laurie, Harriet Polt, Stephen Taylor, and Yale Udoff), but flipping through the contents pages one runs across ... View more info

Image for Film Comment - Volume 3 (1965)

Film Comment - Volume 3 (1965)

By: Hitchens, Gordon, ed.

Price: $85.00

Publisher: New York, Johnson Reprint Corporation: 1970

Edition: 1st printing thus

Seller ID: 20955

ISBN: NO

Condition: Near Fine


[very light surface wear to covers]. (B&W photographs) Reprint volume, reproducing all four issues of Volume 3 (No. 1, Winter 1965; No. 2, Spring 1965; No. 3, Summer 1965; No. 4, Fall 1965). The issues are a bit longer than in the previous year (78, 80, 88 and 88 pages respectively), and one can also observe the editorial policy moving just a bit more in the direction of mainstream cinema (or perhaps mainstream cinema was starting to redefine itself as a bit more "... View more info