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  • FilmQuake : The Most Disruptive Films in Cinema
    FilmQuake : The Most Disruptive Films in Cinema

    Discover films that dared to be different, risked reputations and put careers in jeopardy.This is what happens when filmmakers take tradition and rip it up. FilmQuake introduces 50 movies that shook the cinematic world, telling the fascinating stories behind their creation, reception and legacy. From unbelievable developments in technology (Citizen Kane, 1941) to feminist triumphs (Wanda, 1970); films that kickstarted New Queer Cinema (Paris is Burning, 1990) to others that challenged lawmakers (A Short Film About Killing, 1988) – FilmQuake presents the movies that questioned boundaries, challenged the status quo and made shockwaves we are still feeling today. From film's first innovators, people like the Lumière brothers, whose short film of a train arriving was reported to have terrified audiences in 19th century Paris, through iconoclasts like Sergei Eisenstein and Luis Buñuel, to titans of 20th century cinema like Alfred Hitchcock and Jean-Luc Godard, discover the stories behind the films which incontrovertably changed the course of cinema forever. Into the modern day, this book examines how filmmakers have addressed themes of prejudice and inequality, from the Black Lives Matter movement and Jordan Peele's unmissable Get Out to Bong Joon-ho's cutting study of the lives of the wealthy in Parasite, as well as innovative new cinematic techniques emerging in films like 28 Days Later and Blair Witch Project. In telling the history of cinema through the works that were truly disruptive, and explaining the context in which each was created, FilmQuake demonstrates the heart of modern film, which is to constantly question boundaries and challenge expectation. This book is from the Culture Quake series, which looks into iconic moments of culture which truly created paradigm shifts in their respective fields. Also available is ArtQuake, which tells the stories of 50 pivotal works that challenged consensus and broke daring new ground in the world of art, inspiring shock and scandal as they did so, but ultimately cementing themselves as truly great works of modern art.

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  • How Films Tell Stories : The Narratology of Cinema
    How Films Tell Stories : The Narratology of Cinema

    How Films Tell Stories presents a concise introduction to narrative film theory. Part one discusses the basic elements of story -- plot, character, and fictional world -- as applied to cinema. Part two explores how these elements are communicated, examining time manipulation, perspective, cinematography, editing, and sound. Each chapter concludes with questions encouraging readers to produce their own analysis of the narrative strategies of films.

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  • Films That Spill : Beyond the Cinema of Transgression
    Films That Spill : Beyond the Cinema of Transgression

    Films That Spill is a comprehensive study of the Cinema of Transgression, a hitherto under-examined moment in US underground film culture.Reconsidering the concept of transgressive cinema not only as a description of the intentionally provocative content of the films, but rather as a feature of a cross-disciplinary practice, the book explores how filmmaking in the context of the vibrant and intermingling art, music, performance, and film scenes in 1980s Lower Manhattan spilled over the boundaries of artistic disciplines, media formats, and content concepts.This study not only provides a microhistory of these scenes and insight into their afterlife in archives and exhibitions.It also represents an innovative contribution to debates within film, media, and visual culture about the methodological and historiographical challenges posed by the expansion of film beyond the discursive boundaries of cinema.

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  • The Cinema of Yorgos Lanthimos : Films, Form, Philosophy
    The Cinema of Yorgos Lanthimos : Films, Form, Philosophy

    From the critical and commercial fanfare his films generate, it is largely understood that Yorgos Lanthimos is one of the more interesting filmmakers to have emerged out of the new century.A markedly transnational filmmaker, between Dogtooth and The Favourite Lanthimos has managed to traverse the gap between the art-house and mainstream while not once sacrificing his unique style and worldview.His films, while often difficult, showcase his talents as a filmmaker, collaborator, and commentator on the human condition.Accompanied by a trademark acerbic wit, Lanthimos's films take aim at humanity's more contemptible and absurd designs as he explores a thematic preoccupation with, among other things, power, trauma, isolation, sex, and violence. This edited collection covers everything from an early career that was marked by experimentation with a range of different media to international festival hits including Dogtooth, The Lobster, The Killing of a Sacred Deer, and the Academy Award-winning "historical" epic The Favourite, Lanthimos's most successful feature to date.All his work demonstrates a fascinating contravention of aesthetic, thematic, and generic boundaries that forms the basis of some of the analyses to be found here.Featuring a roster of talented scholars, both new and established, The Cinema of Yorgos Lanthimos: Films, Form, Philosophy provides a timely compendium of critical approaches to one of the most distinct voices in contemporary film.

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  • What is the exact difference between stop-motion films and animated films?

    Stop-motion films are created by physically manipulating objects or characters frame by frame to create the illusion of movement, while animated films are created using drawings, computer-generated imagery, or a combination of both. Stop-motion films involve capturing individual frames of still images, whereas animated films involve creating moving images through various techniques. Both types of films require meticulous attention to detail and precise execution, but the main difference lies in the method used to create the final product.

  • In which language, German or English, does the IMAX cinema in Oppenheim screen films in 70mm?

    The IMAX cinema in Oppenheim screens films in 70mm in German. This means that the films are shown in their original language with German subtitles. Visitors can enjoy the immersive experience of watching high-quality 70mm films in the German language at the IMAX cinema in Oppenheim.

  • What are some good apps for stop-motion films?

    Some good apps for creating stop-motion films include Stop Motion Studio, iStopMotion, and Clayframes. These apps offer features such as onion skinning, time-lapse, and audio integration, making it easier to create professional-looking stop-motion animations. Additionally, these apps are user-friendly and offer a range of tools and effects to enhance the quality of the final film. Whether you're a beginner or a seasoned stop-motion filmmaker, these apps provide the necessary tools to bring your creative vision to life.

  • Is there a cinema where old films are shown?

    Yes, there are cinemas that specialize in showing old films. These cinemas often cater to film enthusiasts who enjoy classic movies and want to experience them on the big screen. Some theaters also host special screenings or film festivals dedicated to showcasing old and iconic films. Additionally, some independent cinemas may regularly include old films in their programming to offer a diverse range of movie options to their audience.

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  • Smartphone Cinema : Making Great Films with Your Mobile Phone
    Smartphone Cinema : Making Great Films with Your Mobile Phone

    This book guides you through the process of using your phone to create different kinds of video and audio for TV, theaters, YouTube, TikTok, and podcasts. Drawing from the author’s experience teaching classes on mobile filmmaking, this resource helps you tell stories better whilst going over the techniques necessary to control the phone professionally, also covering the accessories and software that can help you shape your narrative.Within the chapters you will first learn how to tell a compelling story, before delving into the proper methods for shooting video on your phone effectively and recording high quality audio.The book then explains the best techniques for editing and mixing these components together, always with the smartphone format in mind.Chapters also include the expert knowledge of a wide array of media makers that utilize this medium, from filmmakers to influencers, who give insight into the specific tools they use and how they approach the mobile phone as the hub of their creativity. This book will be a guide to first time makers, students of many disciplines (including student filmmakers), and professional filmmakers who want to leverage what the phone can bring to a shoot.

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  • Impossible Puzzle Films : A Cognitive Approach to Contemporary Complex Cinema
    Impossible Puzzle Films : A Cognitive Approach to Contemporary Complex Cinema

    Narrative complexity is a trend in contemporary cinema.Since the late 1990s there has been a palpable increase in complex storytelling in movies.But how and why do complex movies create perplexity and confusion?How do we engage with these challenges? And what makes complex stories so attractive? By blending film studies, narrative theory and cognitive sciences, Kiss and Wilemsen look into the relation between complex storytelling and the mind.Analysing the effects that different complex narratives have on viewers, the book addresses how films like 'Donnie Darko', 'Mulholland Drive' and 'Primer' strategically create complexity and confusion, using the specific category of the impossible puzzle film to examine movies that use baffling paradoxes, impossible loops, and unresolved ambiguities in their stories and storytelling.By looking at how these films play on our mind's blind spots, this innovative book explains their viewing effects in terms of the mental state of cognitive dissonance that they evoke.

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  • A Life in 16 Films : How Cinema Made a Playwright
    A Life in 16 Films : How Cinema Made a Playwright

    Steve Waters examines how the very idea of film has defined him as a playwright and a person in this book.Through the the lens of cinema, it provides a cultural and political snapshot of life in Britain from the 2nd part of the 20th century up to the present day.The films spanning almost a century, starting with The White Hell of Pitz Palu (1929) and moving most recently to Dark Waters (2019), each chapter examines aspects of Waters's journey from his working-class Midlands upbringing to working in professional theatre to living through the Covid epidemic, through the prism of a particular film.From The Wizard of Oz to Code Unknown, from sci-fi to documentary, from queer cinema to world cinema, this honest, comic book offers a view of film as a way of thinking about how we live.In doing so, it illuminates culture and politics in the UK over half a century and provides an intimate insight into drama and writing.

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  • The Films of Aleksandr Rou : Father of Soviet Fairy-Tale Cinema
    The Films of Aleksandr Rou : Father of Soviet Fairy-Tale Cinema

    Fifty years after his death, the Soviet filmmaker Aleksandr Rou remains a cinematic icon in Russia and many other countries of the former Soviet Union and Eastern Europe.Dubbed ‘King of the Fairy Tales’ and ‘The Main Storyteller of the Country’, he transformed the landscape of Soviet fantasy and fairy-tale cinema during a directorial career that stretched from 1938 to 1972. From the heights of Stalinist propaganda cinema, through Khrushchev’s Thaw and into the Brezhnev Stagnation era, Rou’s films celebrated and perpetuated the nation’s folkloric traditions while constantly refreshing them for new generations of young audiences. In English-speaking countries Rou’s work remains relatively little known, having received only limited theatrical distribution in the West.With home entertainment now offering wider opportunities to discover his unique and exhilarating oeuvre, this book provides a timely introduction to the work of one of the world’s great masters of fairy-tale cinema. The book traces the developments of Rou’s work on fairy-tale film, providing cultural and technical contexts of production, and analysing in a competent manner the features that mark Rou’s personal style, whilst highlighting variations on narratives, actors and special effects.It is a joyful read and an impeccably organised text, which is well structured and brings out much more clearly the various phases in the development of Rou’s films.The chapters provide excellent introductions that serve to contextualise and connect the narrative.

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  • What is the difference between green screen, black screen, and blue screen films?

    Green screen, black screen, and blue screen films are all techniques used in filmmaking to create special effects and composite different images together. The main difference between them lies in the color of the screen used during filming. Green screen films use a bright green backdrop, while blue screen films use a bright blue backdrop. Black screen films, on the other hand, use a black backdrop. Each color has its own advantages and disadvantages in terms of how it interacts with different elements in the scene, such as costumes and props, and how it can be manipulated in post-production.

  • Do people appear larger in pictures and films?

    Yes, people can appear larger in pictures and films due to the way cameras and lenses capture and distort images. Wide-angle lenses, for example, can make subjects appear larger in relation to their surroundings. Additionally, the angle at which a photo or film is taken can also impact how large or small a person appears in the frame. Lighting, composition, and other factors can also contribute to how people are perceived in visual media.

  • Do people appear taller in pictures and films?

    Yes, people can appear taller in pictures and films due to the way the camera angle and perspective can distort the perception of height. For example, if a person is photographed from a lower angle, they may appear taller than they actually are. Additionally, the use of certain lenses in filmmaking can also create the illusion of increased height. However, it's important to remember that these visual effects do not change a person's actual height.

  • How can one have their own films shown in the cinema?

    To have your own films shown in the cinema, you can start by creating a high-quality film that is engaging and well-produced. Once you have a finished product, you can submit it to film festivals and independent cinema screenings to gain exposure and potentially attract the attention of cinema owners or distributors. Networking with industry professionals and building relationships with cinema owners can also help in getting your film shown in theaters. Additionally, you can consider self-distribution or working with a film distribution company to help get your film into cinemas.

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