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• The Aqua Teen Hunger Force movie establishes the origins of the Aqua Teens and attempts to explain the back story to some age-old mysteries that have surrounded the Aqua Teens. Or does it? No one really knowsRunning Time: 166 min. Format: DVD MOVIE Genre: COMEDY Rating: R Age: 053939791921 UPC: 053939791921 Manufacturer No: T7919

Overview

The Aqua Teen Hunger Force movie establishes the origins of the Aqua Teens and attempts to explain the back story to some age-old mysteries that have surrounded the Aqua Teens. Or does it? No one really knows

DVD Features:
Alternate endings
Deleted Scenes
Featurette
Music Video
Other
Photo gallery
Theatrical Trailer

Fans of Cartoon Network’s Aqua Teen Hunger Force series (part of the cable channel’s Adult Swim programming) know what they’re in for with this feature-length extension of the nearly-indescribable animated show. Set in a rundown, Jersey suburb, Aqua Teen concerns the misadventures of three human-size characters who happen to be fast food refuse: the crude Master Shake, a discarded milkshake in a cup similar to those from McDonalds; skeptical Frylock, a flying, cardboard box of french fries; and the personable Meatwad, a piece of expired, red beef of unknown origin. Together, they go in search of a missing piece of an exercise machine that happens to be more than an exercise machine, placing them on a collision course with the likes of Oglethorpe and Emory, a pair of jagged, ridiculous creatures from the future who travel with a robot companion claiming to be the Ghost of Christmas Past. They also encounter Dr. Weird, a mad scientist given to disguises and who seeks revenge against the Hunger Force; McPee Pants, a rapping spider who wears a shower cap and diaper; and the hilarious Ignignokt and Err, two-dimensional villains from the ancient days of pokey, Atari video games. Dave Willis and Matt Maiellaro, series creators and writers-directors on Aqua Teen Hunger Force Colon Movie Film for Theaters, are wildly entertaining class clowns, but they expect the rest of us to follow them into their surreal world of postmodern animated nuttiness. The rewards, however, are plentiful. –Tom Keogh

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Trinity & Beyond… The Atomic Bomb Movieis the top secret, strange and visually compelling history of the design, production and testing of Atomic Hydrogen bombs.

In this special 60th Anniversary Diamond Edition, renowned special effects filmmaker Peter Kuran (Star Wars, Star Trek II & V, Robocop) offers up amazing film footage chronicling the top secret, strange and visually compelling history of the design, production and testing of Atomic Hydrogen bombs by the United States. With the development and use of award-winning new film restoration systems, Kuran has perfectly preserved these haunting images for generations to come.

Narrated by William Shatner (Boston Legal, Star Trek), Trinity & Beyond features extremely rare film segments from top secret government archives and startling footage of nuclear bomb tests conducted by Great Britain and China, plus the largest atomic explosion ever created by Russia, and de-classified U.S. footage released to the public as recent as May, 2006. Whether being exploded under the ocean, suspended by a balloon, shot from a cannon or even detonated in space, these weapons are capable of devastating destruction – the quality of these images is as startling as are remarkable.

With new footage shot with hi-definition cameras, this award-winning production also features an amazing explosion segment that must be seen with 3D glasses to truly take in its full impact. Trinity & Beyond features an original score performed by the Moscow Symphony Orchestra and an interview with Dr. Edward Teller a developer of nuclear weapons and one of the most controversial figures of the 20th century.

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Assessing film’s unheralded–and unbridled–power as a “teaching machine,” Breaking in to the Movies showcases Giroux’s best-known film essays that address the profoundly pedagogical role film has come to play in contemporary culture.

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• Entertaining yet insightful analysis of more than 100 films for and about teenagers—illustrated with photos of iconic moments

• Filmography of teen movies

From Mickey and Judy putting on a show, to James Dean rebelling without a cause, to Molly Ringwald crying on her sixteenth birthday, teen movies have reflected the social, political, and cultural climate of their times for more than fifty years. The book begins with a look at the image of teenagers in pre-1950s Hollywood cinema. Among the topics discussed are exploitation films of the 1930s, such as Reefer Madness and Cocaine Fiends, the roles assigned to teen performers such as Elizabeth Taylor and Natalie Wood, and the “criminals-in-training” films of the 1940s, such as the serials featuring the East Side Kids and The Bowery Boys.

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• ISBN13: 9781606993637
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

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The most dazzlingly insane film reference book of all time, Destroy All Movies!!! is an informative, hilarious and impossibly complete guide to every appearance of a punk (or new waver!) to hit the screen in the 20th Century. This wildly comprehensive release contains A-to-Z coverage of over 1100 feature films from around the world, as well as dozens of exclusive interviews with the cast/creators of crucial titles like Repo Man, Return of the Living Dead, The Decline of Western Civilization and Valley Girl. Also examined are several hundred prime examples of straight-to-VHS slasher trash, Brooklyn skid row masterpieces, Filipino breakdancing fairytales, no-budget apocalyptic epics and movies that shouldn’t even have been released, many of which have never been written about. Plus hundreds of eyeball-smashing stills and posters, many in full color!

Interviewees include screen veteran punk musicians Richard Hell, Ian MacKaye of Minor Threat, Lee Ving of Fear, Exene Cervenka and John Doe of X, Keith Morris of Black Flag and Circle Jerks, Chris D. of The Flesh Eaters, Youth Brigade’s Shawn Stern, Sickie Wifebeater of The Mentors, Ivan Kral of the Patti Smith Group and many others. Also featured are conversations with filmmakers Penelope Spheeris (the Decline of Western Civilization documentaries, Suburbia), Mark Lester (Class of 1984), Martha Coolidge (Valley Girl), Alex Cox (Repo Man), Lech Kowalski (D.O.A.), Allan Arkush (Rock ‘n’ Roll High School), Amos Poe (The Blank Generation), Susan Seidelman (Smithereens), Slava Tsukerman (Liquid Sky), Alan Sacks (Du-beat-e-o), Eric Mitchell (Underground USA), Brian Trenchard-Smith (Dead End Drive-In), Dave Markey (Desperate Teenage Lovedolls), Bruce LaBruce, and NYC transgressor Nick Zedd. Performers like Mary Woronov, Eddie Deezen, Clint Howard, Jon Gries, P.J. Soles and Dick Rude speak out, plus countless other actors and creators from the frontlines of punk’s big-screen explosion.

Destroy All Movies!!! nails down decades of insanity with superhuman research, vicious precision and electrically charged stills and images, and is the first and final definitive armchair roadmap to punk and new wave on celluloid. Five years in the making, this pulse-bursting monument to lowbrow cultural obsession is a must for all film fanatics, music maniacs, anti-fashion mutants, ’80s nostalgists, sleazoids, cop-killers and spazzmatics!

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How to create a production board, shot-by-shot, day-by-day to turn a shooting schedule into a workable production schedule.

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Films achieve their effects with sound as well as images. An ideal text for introductory film music courses, Hearing the Movies: Music and Sound in Film History brings music into the context of sound, and sound into the context of the whole film.

The text explores film sound in three parts. Through engaging, accessible sample analyses and exercises, Part I illustrates ways to analyze a soundtrack in relation to the image track. Part II focuses on the contributions of music to film form and style while offering a number of detailed analyses of different types of scenes; and Part III lays out a concise history of film music and sound, paying particular attention to the role of technological innovations in film production and exhibition.
Features:
* Detailed sample analyses with timings describe the function of sound and music in individual scenes
* Extended exercises suggest tools for basic analysis of the soundtrack
* Interludes at the ends of Parts I and II offer guidelines for writing about films in terms of their sound and music
* Historical coverage extends from the silent film era to the advent of digital technology and beyond
* Provides a broad range of examples from Hollywood, independent, and foreign films, as well as focused analysis
* Features sidebar commentary from industry professionals and more than 300 illustrations, including screen stills, photos, tables, diagrams, and musical excerpts
* Incorporates the broadest range of scholarship on film music currently available, spanning the disciplines of music and film/media studies
* Includes glossary of terms for easy reference
* Companion website at http://www.hearingthemovies.net offers additional resources for instructors and students

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Steven Spielberg once said, “I like ideas, especially movie ideas, that you can hold in your hand. If a person can tell me the idea in twenty-five words or less, it’s going to make a pretty good movie.” Spielberg’s comment embodies the essence of the high concept film, which can be condensed into one simple sentence that inspires marketing campaigns, lures audiences, and separates success from failure at the box office. This pioneering study explores the development and dominance of the high concept movie within commercial Hollywood filmmaking since the late 1970s. Justin Wyatt describes how box office success, always important in Hollywood, became paramount in the era in which major film studios passed into the hands of media conglomerates concerned more with the economics of filmmaking than aesthetics. In particular, he shows how high concept films became fully integrated with their marketing, so that a single phrase (“Just when you thought it was safe to go back in the water . . .”) could sell the movie to studio executives and provide copy for massive advertising campaigns; a single image or a theme song could instantly remind potential audience members of the movie, and tie-in merchandise could generate millions of dollars in additional income.

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Can films be used as historical evidence? Do historical films make good or bad history? Are documentaries more useful to historians than historical drama?

Written from an international perspective, this book offers a lucid introduction to the ways films are made and used, cumulating with the exploration of the fundamental question, what is history and what is it for?

Incorporating film analysis, advertisements, merchandise and internet forums; and ranging from late-nineteenth century short films to twenty-first century DVD ‘special editions’, this survey evaluates the varied ways in which filmmakers, promoters, viewers and scholars understand film as history. From Saving Private Ryan to Picnic at Hanging Rock to Pocahontas, History Goes to the Movies considers that history is not simply to be found in films, but in the perceptions and arguments of those who make and view them.

This helpful introductory text blends historical and methodological issues with real examples to create a systematic guide to issues involved in using historical film in the study of history. History Goes to the Movies is a much-needed overview of an increasingly popular subject.

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• ISBN13: 9780195321050
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed

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Richard Gilman referred to How to Read a Film as simply “the best single work of its kind.” And Janet Maslin in The New York Times Book Review marveled at James Monaco’s ability to collect “an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way.” Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media.
Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an “Essential Library: One Hundred Books About Film and Media You Should Read” and “One Hundred Films You Should See.” As in previous editions, Monaco once again looks at film from many vantage points, as both art and craft, sensibility and science, tradition and technology. After examining film’s close relation to other narrative media such as the novel, painting, photography, television, and even music, the book discusses the elements necessary to understand how films convey meaning, and, more importantly, how we can best discern all that a film is attempting to communicate. In addition, Monaco stresses the still-evolving digital context of film throughout–one of the new sections looks at the untrustworthy nature of digital images and sound–and his chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film.
With hundreds of illustrative black-and-white film stills and diagrams, How to Read a Film is an indispensable addition to the library of everyone who loves the cinema and wants to understand it better.

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This text is a lay person’s guide to the world of film music, from the silent era to the present day. Oscar-winning film composer Fred Karlin describes how music is written and recorded for the movies; who the composers are and how they work with film makers; and the music itself – what to listen for in a film score, and what makes one score better than another.

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