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The definitive, behind-the-scenes story of the making of The Godfather.

Seal Mark: Leave the Gun, Take the
Cannoli

Leave the Gun, Take the Cannoli

The Epic Story of the Making of The Godfather

Magic Rays of Light is an original and ambitious history of the largely unknown early years of television in Britain. A detailed cultural study of the first demonstrations, of the extensive experimental broadcasts between 1928 and 1935, and of the BBC's richly varied daily service starting in November 1936 from Alexandra Palace, the book overturns the popular mis-conception that television in Britain effectively began with Elizabeth II's Coronation in 1953. In tracing this history, John Wyver chronicles the process by which a technology became a medium. He argues that much of what that television as we knew it in the late twentieth century was created within the fluid and at times unstable forms of the interwar medium. Most fundamentally the basics of television's screen language and grammar were developed. As this emerged, television drama flourished in the staging of more than 400 plays, from Shakespeare and Agatha Christie to Pirandello and P.G. Wodehouse, starring luminaries including Laurence Olivier, Sybil Thorndike and Peggy Ashcroft. Outside broadcasts of state occasions, and of Wimbledon and Test matches, were pioneered, along with transmissions of the Derby (from 1931 onwards) and the FA Cup Final. Light entertainment formats, quiz shows and the direct ancestor of countless magazine programmes were devised, alongside ambitious presentations of classical ballet and grand opera. As a striking counterpoint to this story, Magic Rays of Light also celebrates the inchoate, indeterminate nature of interwar television. In certain key ways, from the first imaginaries and sci-fi visions of television, and in aspects of how it was made, of what was produced and how this was seen, early television was entirely distinct from what the medium later became. The book reveals television's forgotten pasts and unrealised futures, including the low resolution, vertical format transmissions of John Logie Baird's first systems, and the live, large-screen electronic projection systems known as 'cinema television'. Relaying sports events and pageantry to cinemas, this pre-war sensation was seen by the BBC as a serious threat to its monopoly. By attending closely to the transmissions of the first fifteen years, to the emerging medium's industrial context, and to its intermedial links with radio, theatre, cinema, music hall, sport and more, Magic Rays of Light illuminates television's place in the cultural and social histories of Britain between the wars.

The Early Years of Television in Britain

Magic Rays of Light

Film Theory in Practice

The Film Theory in Practice series fills a gaping hole in the world of film theory. By marrying the explanation of a film theory with the interpretation of a film, the volumes provide discrete examples of how film theory can serve as the basis for textual analysis. This book provides a broad introduction to network theory and shows how this theory can motivate a close reading of Robert Altman's 1975 film Nashville. By offering a tour of the expansive intellectual network we can now call network theory, the book demonstrates how analyzing the ubiquitous characteristics of networks changes the way film fans, students, and scholars might understand cinema's storytelling possibilities. It models a method of interpretation (focusing on character, cinematography, and sound) that students can practice with other feature films. Moreover, it situates film within a larger discourse about art and society, offering students the tools for analyzing other large-form cultural objects. Organized into two parts, the first section of the book presents an overview of network theory, its various facets as a still-emerging discourse, and its historical context in post-industrial life, before turning to Altman's Nashville. It then explores the film's narrative style and character system as a special case of network cinema, to show how there is more than "connectedness" alone to the network form.

Network Theory and Nashville

The Study of Sound

Bringing concepts from early film theory into dialogue with the vibrant field of contemporary sound studies, Wild Sound turns an analytic eye and ear to the role of the soundscape in cinema, particularly the way that film soundtracks capture, create, represent, and even critique our sonic environment. Listening beyond music and dialogue, this book draws attention to the oft-ignored background soundscape-film's "wild sound"-which plays a quiet but substantial role in determining how film audiences feel about certain places, people, and processes. It explores the relationship between location sound and wider practices of phonographic field recording in the creation of a cinematic sonic environment. The latter half of the book shifts attention from from the controlled soundscapes of cinema to the relatively chaotic sonic environments of the world around us. Michael Pigott ultimately demonstrates how a theory of cinematic soundscapes helps us develop practical strategies for investigating the sonic environment in our personal and natural sound worlds, beyond the cinema auditorium.

Wild Sound

In eleven essays of inquiry from different scholarly traditions, the authors in Microutopias and Everyday Hope examine the potential that resides in utopian thinking on smaller scales. Basing their explorations in material ranging from music, TV-series, film, and literature to concrete sites, the reflections that result engage in a conversation that steers our attention to the details of aesthetics that are increasingly being drowned out in the polycrisis. However, our attention to detail in less spectacular venues and in the everyday is required if we are to imagine alternative futures differently, and better. Caught in late capitalism's relentless and dystopian march toward the abyss, any kind of future is predicated on utopian thinking in the present. The essay collection is therefore also an appeal to the crucial importance of the humanities as providing the glue that can withstand our contemporary's fragmentation. Ultimately, this collection highlights the crucial importance of the humanities in order to withstand and even move past the contemporary societal fragmentation being experienced globally.

Microutopias and Everyday Hope

Topics and Issues in National Cinema

Focuses on the history of government subsidies for feature films in Flanders (the northern, Dutch-language region of Belgium) and its role in stimulating a Flemish identity. It provides an empirical contribution to the study of the relationship between film, national identity and governmental film policy. This book is a timely empirical contribution to the underdeveloped field of Belgian film history. By focusing on film policy, the book contributes to the long neglected but currently burgeoning international field of film policy studies. Furthermore, because of its focus on film policy, the book provides an original contribution to the international research tradition on the relationship between film and national identity by going beyond an examination of textual representations.

Film Policy and National Identity in Flanders

Constructing a Flemish Cinema

Rewrites the history of the development of film and TV industries and cultures through questions of gender during the critical decade of the 1970s Spain.

Leading Women in Spanish Cinema and Television, 1970-1980

An introduction to the career of Travis Banton, one of the preeminent costume/fashion designers of Hollywood's Celebrated "Golden Age." Banton was responsible for creating the on-screen images of such legendary actresses as Carole Lombard, Claudette Colbert, Mae West, and most notably Marlene Dietrich.

Haute Couture in Hollywood's Golden Age

Banton of Paramount

This showcases the production art, character and vehicle designs, planets, storyboards, and other breathtaking work created during the production of the hit Disney+ series.

The Art of Star Wars: The Acolyte

BFI Film Classics

Groundhog Day

This collection analyzes Joshua Oppenheimer's diptych The Act of Killing and The Look of Silence as a cinematic event that invites interrelated questions on historical memory, truth and reconciliation, and the limits of documentary filmmaking. 

Featuring a new interview with Joshua Oppenheimer himself, On the Act of Looking affirms Oppenheimer's use of fiction and manipulation as a technique to expose, contrary to the classic documentary form, not so much a reality behind the appearance of things, but how appearance as such can become a site of intervention or truth-telling. Contributors to this collection, including film scholars, art historians, historians, political scientists, philosophers, and Indonesian human rights activists, answer why Oppenheimer's documentary films not only have received near universal praise and admiration, but also why this praise is often qualified by surprise and fascination.

Reading Joshua Oppenheimer’s Diptych: The Act of Killing and The Look of Silence

On the Act of Looking

Leave the Gun, Take the Cannoli

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