[nice clean copy, with minor handling wear only]. (B&W photographs) Transcript of a seminar held October 11, 1972, with documentary film producer David Wolper, and several of his top staff members, including Mel Stuart. "Wolper was fresh from Munich, where the Wolper Organization had exclusive rights to filming the Olympics for a feature film. His candid responses to questions about this as well as the whole field of film production sparked an unusually strong exchange between the Wolper executives and the Center Fellows." The cover photo is of Wolper in Munich (where he had been filming t... View More...
[modest edgewear/rubbing, slight bumping at lower left corner (base of spine)]. (B&W photographs) Transcript of a very special session of what otherwise sounds like a pretty dry event: a meeting of the AFI's University Advisory Committee on August 18, 1972, to explore the relationship between the American Film Institute and the academic community. What was remarkable, though, was the group of filmmakers who took part in that session, to share their "valuable insight into their own entrances and education in the film profession": Alfred Hitchcock, George Stevens, Robert Wise, Charlton Heston, ... View More...
[light soiling, top rear corner slightly bent/dog-eared]. (B&W photographs) First issue of this little magazine, dedicated (per the editorial) to treating the cinema as "a fine art [and] with the respect due an impressive means of communication." Articles: "Ripples from a Wave" (Andrew Sarris); "Our Elizabethan Movies - A Revival" (Dwight Macdonald); "The Silent World of Slapstick (1912-1916)" (Mark Sufrin); "David Wark Griffith" (first of two articles, by William K. Everson); "Dreams in the Dream Factory" (Daniel Rosenblatt); two brief reviews... View More...
[nice clean copy, very slight wear along spine]. (B&W photographs) Privately-published journal, issued quarterly from 1970-1976, featuring short articles on various aspects of American film history. This issue includes: a interview with silent film actress Lois Wilson; an article about the brief and not-that-glorious film career of TV host Merv Griffin; an article in which Herman G. Weinberg speculates (wildly) that the plot of Ernst Lubitsch's 1924 film THREE WOMEN might have been inspired by the William Desmond Taylor murder; brief biographies of three B-Western comedians (Max Terhune, Geo... View More...
[modest wear along the spine and a few tiny scuff marks on the front cover, otherwise a nice clean copy]. (B&W photographs) An exceptional issue of this exceptional film publication, which took a couple of years from its inception in 1962 to really find its footing, but by this time (under the still-fresh editorship of future screenwriter-director Curtis Hanson, who had just succeeded founding editor/publisher James Silke one issue prior to this one) had really begun to settle into its groove. I mean, really: if the mix of elements and contributors in this issue isn't indicative of how well ... View More...
[very nice clean copy, virtually newsstand-fresh with just a touch of wear along the spine]. (B&W photographs) Includes an original essay by Harlan Ellison, "Three Faces of Fear; a Theory of Film Horror from the Works of Val Lewton." Also -- an interview with Richard Attenborough; a joint interview with the then-married Rod Steiger and Claire Bloom; a profile, with photos, of actress Samantha Eggar (also on the cover); a short article on director Terence Young; short article about the numerous films then being made on location in Spain; reviews of THUNDERBALL (Terence Young), A PATCH OF BLUE (... View More...
[nice clean copy, faint handling wear only]. (B&W photographs) A special issue of the DGA magazine, devoted exclusively to John Ford's classic 1939 western STAGECOACH. Includes: appreciations of the film by critics Arthur Knight and Andrew Sarris; Ford's own account of the film's conception and production; a kind of highlights-reel summary of the film, with frame blow-ups and dialogue excerpts; "The Company Remembers Stagecoach," featuring reminiscences by John Wayne, Claire Trevor, Yakima Canutt, Wingate Smith, Walter Reynolds, Dorothy Spencer, Andy Devine, Walter Plunkett, and John Carradin... View More...
[nice clean fresh copy, with just a few traces of handling wear here and there]. About half of this issue is devoted to Fuller. In addition to the screenplays for PICKUP ON SOUTH STREET and SHOCK CORRIDOR (both published for the first time), there is a keynote essay on the writer/director by J. Hoberman, excerpts from various interviews with Fuller, and, most fabulously, reproductions of pages from his war journals, which contain numerous cartoons which are just as punchy and his films, and just as vivid as he was in real life. Essential for the Fuller fan, and a terrific companion piece to h... View More...
[nice clean copy, minor rubbing/scuffing to rear cover, a little wear at extremities]. (B&W photographs) Founded in 1946 as "Hollywood Quarterly," this was one of the best "serious" film journal of its day, and one of its greatest pleasures was encountering the early film criticism of Pauline Kael, preceding her legendary stint at The New Yorker, which commenced in 1968. This issue, in addition to Kael's review of Peter Ustinov's BILLY BUDD (which she generally praises, but also typically uses to get in a shot at Lewis Milestone's "slovenly, incoherent" MUTINY ON THE ... View More...
[somewhat worn copy, with bumping/dog-earing at right-hand corners, wear along spine, a bit of curling along left edge of rear cover]. (B&W photographs) Special issue devoted to the production of George Stevens' biblical epic THE GREATEST STORY EVER TOLD. Includes: excerpts from Charlton Heston's diary; "A Monograph of George Stevens Films," with comments on his style and all his feature films, by editor Silke; an in-depth interview with Stevens himself; and a photo-feature on the film. Also in the issue are the usual features: short news items related to international cinema; a new column b... View More...
[several vertical creases in both front and rear covers, a bit of scuffing to rear cover, otherwise a nice clean copy]. (B&W photographs) The major feature of this issue is a fourteen-page interview with William Wellman, illustrated with many stills from his films -- quite possibly the most in-depth look at his career to have appeared at that time. Other contents include: an "in-depth preview" of IS PARIS BURNING?; interviews on composing music for films, with Maurice Jarre, Dimitri Tiomkin and Henry Mancini; article, "The Face of the Vampire," regarding "Theda Bara and her sisters in seduc... View More...
![Image for Film Society (1963) [cover: Charles Murray in WHEN VILLAINS MEET]](/assets/images/product/10876.jpg)
![Image for Filmograph - Vol. I, No. 4 (1970) [cover: Lois Wilson]](/assets/images/product/18611.jpg)
![Image for Cinema [magazine] (December 1965) [cover: Jean-Paul Belmondo]](/assets/images/product/27922.JPG)
![Image for Cinema [magazine] (March 1966) [cover: Samantha Eggar]](/assets/images/product/27753.JPG)
![Image for Action: Directors Guild of America [magazine] (September-October 1971) [special issue: John Ford and STAGECOACH]](/assets/images/product/27657.JPG)
![Image for Scenario: The Magazine of Screenwriting Art (Fall 1998) [special Sam Fuller tribute issue]](/assets/images/product/10085.jpg)
![Image for Film Quarterly (Spring 1963) [cover: lobby of the Fox Theatre, San Francisco]](/assets/images/product/22758.jpg)
![Image for Cinema [magazine] (December-January 1964-65) [cover: THE GREATEST STORY EVER TOLD]](/assets/images/product/27662.JPG)
![Image for Cinema [magazine] (July 1966) [cover: Linda Evans]](/assets/images/product/27661.JPG)
