Designs on Film: A Century of Hollywood Art Direction by Cathy Whitlock

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By Cathy Whitlock

Who can overlook the over-the-top, white-on-white, high-gloss interiors in which Fred Astaire danced in most sensible Hat? The modernist high-rise structure, encouraged through the paintings of Frank Lloyd Wright, within the variation of Ayn Rand's The Fountainhead? The lavish, opulent drawing rooms of Martin Scorsese's The Age of Innocence? by utilizing movie design--called either artwork path and construction layout within the movie industry--movies can delivery us to new worlds of luxurious, spotlight the decoration of the standard, supply a imaginative and prescient of the long run, or evoke the realities of period. In Designs on movie, journalist and inside clothier Cathy Whitlock illuminates the customarily undercelebrated function of the creation clothier within the production of the main memorable moments in movie background. via a lush number of infrequent archival photos, Whitlock narrates the evolving tale of paintings path over the process a century--from the large Roman structure of Ben-Hur to the notorious Dakota condo in Rosemary's child to the electronic CGI wonders of Avatar's Pandora.

Drawing on insights from the main sought after Hollywood creation designers and the historic wisdom of the venerable paintings administrators Guild, Whitlock delves into the specific strategy of how units are imagined, drawn, equipped, and adorned. Designs on movie is the must-have glance ebook for movie fanatics, motion picture buffs, and someone trying to draw inside layout notion from the buildings and confections of Hollywood. Whitlock lifts the curtain on motion picture magic and celebrates the numerous ways that artwork course and set layout let us lose ourselves within the diversified worlds showcased at the huge screen.

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85. , p. 67. 86. , p. 68. 87. ), Fugitive Images: From Photography to Video (Bloomington: Indiana University Press, 1995), pp. 142–3. 88. ), Writing the Image After Roland Barthes (Pennsylvania: University of Pennsylvania Press, 1997), pp. 78–9. 89. Roland Barthes, Camera Lucida: Reflections on Photography, trans. by Richard Howard (London: Cape, 1982), p. 49. 90. , p. 51. 91. Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, in Robert Stam and Tony Miller (eds), Film and Theory: An Anthology (Malden and Oxford: Blackwell, 2000), p.

205. 103. , p. 275; Kristin Thompson, Eisenstein’s Ivan the Terrible: A Neoformalist Analysis (Princeton: Princeton University Press, 1981), p. 273. 104. Bordwell, Narration, p. 280. 105. Daniel Frampton, Filmosophy (London: Wallflower, 2006), p. 104. 106. , p. 109. 107. indd 44 19/06/2012 10:09 t ime , in the or y 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. html. Ibid. Bordwell, Narration, pp.

P. 29. 102. Bordwell, Narration, p. 205. 103. , p. 275; Kristin Thompson, Eisenstein’s Ivan the Terrible: A Neoformalist Analysis (Princeton: Princeton University Press, 1981), p. 273. 104. Bordwell, Narration, p. 280. 105. Daniel Frampton, Filmosophy (London: Wallflower, 2006), p. 104. 106. , p. 109. 107. indd 44 19/06/2012 10:09 t ime , in the or y 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136.

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