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Free Download The Films of John Carpenter

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The Films of John Carpenter

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Review

"recommended"--Choice; "informative and entertaining"--ARBA; "I found this book an enjoyable experience"--SFCrowsnest; "cogent and insightful...contain[s] excellent resources"--SFRA Review; "thorough...enjoyable"--Crimson Celluloid; "tells you the story behind the story...will have you heading for the Horror and Sci-Fi sect ion at your local video store"--Cult Movies; "extensive credit lists"--Video Watchdog; "impressive"--Fandom; "complete credits, a very lengthy synopsis, and an equally lengthy commentary"--Classic Images; "excellent...get this most enjoyable book"--Hitch; "a detailed history...will delight Carpenter fans seeking hidden meanings in his multi-layered works"--The Intelligencer Record; "a very interesting read"--Little Shoppe of Horrors.

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About the Author

John Kenneth Muir is the author of more than 20 reference books covering science fiction and horror on film and television. He is creator of the Internet sci-fi series The House Between (www.thehousebetween.com) and his popular blog can be found at reflectionsonfilmandtelevision.blogspot.com.

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Product details

Paperback: 275 pages

Publisher: McFarland & Company (March 2, 2005)

Language: English

ISBN-10: 0786422696

ISBN-13: 978-0786422692

Product Dimensions:

6.8 x 0.8 x 9.8 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

3.6 out of 5 stars

10 customer reviews

Amazon Best Sellers Rank:

#933,959 in Books (See Top 100 in Books)

A patchy look at a personal favourite of mine but flawed. The book only goes as far as 1998 and, while Carpenter has done little since, the lack of an update is a shame as is the omission of Elvis. The rest of the book is beautifully written and insightful

John Carpenter is an underrated film director. In this overview of Carpenter's work (which ends with 1998's Vampires), Muir defends a director he obviously admires as much as I do while still pointing out some flaws in some of his films. In particular, Carpenter's 1990s films are weaker than many of his 1980s films and that may have to do with some bitterness and anger that the director felt towards film critics and movie executives in his own country. The French view him as an auteur, but Hollywood views him as a hack. Some of these reviews appear in part (or in whole) in other critiques that Muir has published but generally the book is essential for genre fans who appreciate Carpenter's work.

I was rather dissappointed reading this book.Altough It provides interesting insight to the historical aspects of Carpenter's work it lacks indepth analysis when attempting to comment on the films.I understand there's a well meaning effort here to address the average viewer and that is done successfuly,giving Carpenter the status he deserves,but to me Carpenter's movies are a lot more than that and some suggestions regarding some screenplay details seem to loose the point completely.

The horror master is one of the most gifted filmmakers ever to populate this earth, and, if you're not comfortable with that, look someplace else. This is a true master like Hawks or Welles, and an underrated filmmaker. Carpenter's The Thing is a masterpiece that will grow with time, I know it! His films like They Live, is a Scorsese favorite, so watch out when a master praises another master. Cheers!

this is one of the worst books i've ever bought. if you have ever read Fangoria magazine you would have gotten better pictures and more information on mr. carpenter. how can a book like this not go into detail about carpenters famous movie scores! the book is not complete for they don't even mention the made for tv movie ELVIS he made with kurt russell.better information could be obtained from dvd production notes.somebody please write a fitting tribute to a great director.

Enjoyed it, a little repetitive.

It's been a long wait for an in-depth study of filmmaker John Carpenter, and John Kenneth Muir delivers and then some with this classy, extremely thought-provoking analysis of an unsung hero in modern filmmaking. Muir's description of Carpenter as auteur, a modern-day successor to Howard Hawks, provides a wholly satisfying perspective that opens up Carpenter's career to a much needed reevaluation. With in-depth and genuinely interesting commentary on all of Carpenter's films (including those films Carpenter has produced, written, and executive produced), Muir really shines in putting each film into the perspective of Carpenter's entire body of work. His analysis of Halloween is probably the finest thing you'll ever read about a film that has been analyzed for a generation by anyone writing about modern horror.Strongly recommended not just for Carpenter buffs but for anyone really wanting to understand what it means to be an auteur and not just a director. While many film critiques take the reader through familiar paces on films to which he or she is already familiar, Muir adds much to his subject, adding luster to Carpenter's films (and all but compelling the reader to grab some popcorn and take a fresh ride through Carpenter's world).As a John Carpenter fan for nearly a generation, John Muir's book only made this reader appreciate Carpenter more -- there's an accomplishment. A fine job, worthy of real estate in any film buff's book case, and not likely to be surpassed.

I ordered this book after buying and enjoying three others by this author and found this one to be another excellent addition to my library. This book contains detailed information on each of Mr. Carpenter's films including a synopsis,list of cast and crew,critical reception for each film and a section with the author's commentary. This book is extremely well written and a very enjoyable read. I find myself looking through it often and it has led me to pick up some of John Carpenter's movies to add to my collection. For anyone who is a John Carpenter fan or a horror fan this is one book they should not be without and for the casual movie fan they would enjoy adding this book to their library. The other books I have by John Kenneth Muir are: Horror films of the 1970's, Wes Craven: the Art of Horror and Eaten Alive at a Chainsaw Massacre: the films of Tobe Hooper. These are all excellent books and I highly recommend them to horror fans and movie fans alike. I am currently awaiting the release of his next book: The Unseen Force: the Films of Sam Raimi as I know it will be another excellent addition to my library.

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PDF Ebook Theory of Harmony (California Library Reprint Series)

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Theory of Harmony (California Library Reprint Series)

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A new critical foreword by Walter Frisch, H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University, expands this centennial edition. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.

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Product details

Series: California Library Reprint Series

Paperback: 464 pages

Publisher: University of California Press (February 16, 1983)

Language: English

ISBN-10: 0520049446

ISBN-13: 978-0520049444

Product Dimensions:

7 x 1 x 10 inches

Shipping Weight: 2.2 pounds

Average Customer Review:

4.5 out of 5 stars

34 customer reviews

Amazon Best Sellers Rank:

#268,868 in Books (See Top 100 in Books)

This book is the Teach Yourself Person's music theory bible. No joke. If you take the time to study it properly and reread any sections that seem a bit hazy, it will take you a while to get through it, but your understanding of music and harmony will be incredibly profound. I would like to stress that this is NOT a simple book, with simple explanations for music voicing and harmonic instruction. On the contrary, there are very complex concepts and systems that he explains here that are fairly deep, and will require quite a bit of study and definitely some rereading. The book itself is written by a teacher, for teachers AND students. I have not completed this study yet for lack of free time, as I am taking it slow as to understand everything fully, but the more I study this, the more I want to continue studying it. The knowledge he presents builds on itself, and everything is explained in a logical and very thorough fashion. Also, it is not just theory he teaches. He aims to have the pupil well-versed in 4-part voice composition, chord progressions, modulation, transposing, etc, so you will be writing music, and you will be flying through pages and pages of it in your practice exercises.If you want a hardcore study, and want to come to understand things about sound and harmony you would never even guess at; if you want to learn to write music (and not just throw chords together because they sound great) with purpose; if you yearn to understand WHY that one song sounds so incredible, and to learn how to evoke emotions through similar progressions and melody, this is the book for you, and it is worth many times the amount of money requested here. However, if you want a quick study of harmony with easy-to-understand, simplified concepts, countless pictures of hands shaped to play chords, and large illustrated diagrams of the grand staff, you will not be satisfied.

I have been reading and working through this book for about a year now. I have been writing 4 part harmony exercises as directed by ASchoenberg in this book. This is an important point, to my way of thinking. Writing out one's own harmony exercises according to Arnold's instructions is KEY, I believe, to getting the real value out of the book. I play jazz piano, in addition to sight read through Bach (currently pieces from his French Suites). I've also lately been sight reading (slowly) through some of Bartok's 1926 Piano Sonata. I also am a huge fan of Louis Jordan (and his Tympani FIve) and play some of his music. What does this have to do with Arnold's massive text. All of these examples of Western harmonic music are involved with voice leading. OK, maybe Bartok turns things on their heads, he does use voice leading.I'm doing what I call a "slow burn" study of Arnold's instructions. My aural perception (my "ear") has sharpened as a result. I would NOT say, by any means that this is the only way to do this. But I do believe that it is an excellent way. The book is a long slow slog. Arnold obsesses about minutiae and he philosophises about aesthetics. The reader is free to skip over these sections and get to the meat of the harmonies.I wish this book had more practitioners . Again, as I said earlier, I believe the real value is in the practice, not simply reading.

Schoenberg's Harmonielehre (Theory of Harmony) was written for, and intended for use by, composition students in university-level conservatory classes. It is likely to be as hard going for anyone without several years prior music study as would be, say, a college calculus class for someone who had never had high school math. This book assumes you are already a musician, already familiar with the classical tradition from Palestrina through the early 20th century, and already familiar with the basic ideas in harmony and counterpoint.For those with the musical background to appreciate it, Schoenberg's writing about harmony is interesting and insightful. Not everyone will agree with all of the "philosophical" or "scientific" theories he weaves into his theory of tone relationships. (I put those words in quotation marks because Schoenberg is clearly no scientist, nor philosopher.) However, there is no doubt he is one of the deepest musical thinkers available to learn from. Borrowing his ears through this book is useful not only in sharpening one's own set of compositional tools, but more generally for understanding any piece of serious music.Shorter essays in his "Style and Idea" -- a book covering a broad range of topics -- give a flavor of what to expect from this much fuller treatment of harmony.Beginning students interested in learning the fundamentals of harmony cannot do better than Piston's "Harmony."

As many others have said, this isn't your typical theory book. This speaks of theory through the lens of art and aesthetic beauty. Schoenberg knows what music is all about, and his often lengthy diatribes are informative and insightful. His process for teaching is extremely methodical, just the way I like it. No stone goes unturned, and in the process he explains his pedagogical tactics. It is a hefty book and it takes a long time to get through if you do it right, but the amount of information you will get out of it is unparalleled.

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PDF Ebook , by Blake Snyder

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Product details

File Size: 549 KB

Print Length: 215 pages

Publisher: Michael Wiese Productions (May 25, 2005)

Publication Date: May 25, 2005

Sold by: Amazon Digital Services LLC

Language: English

ISBN-10: 1932907009

ISBN-13: 978-1932907001

ASIN: B00340ESIS

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Amazon Best Sellers Rank:

#19,655 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

I'm a film student, and taking my first screenwriting class. This wasn't a required text, but one of the recommended ones. I've reads parts of several different ones, and this is the one I feel is the most useful. He's not some academic with his head in the clouds. Very good advise that makes sense. Some very specific structures to use, and lots of useful anecdotes about "the biz". One of the things that I liked best was that everytime he talks about some theory about screenwriting, he immediately backs it up with scenes from recognizable movies.

I've read literally hundreds of writing guidebooks and this is the most practical I've ever seen. I've seen books that literally say, "Here's how to write a plot. Put your character in a tree, throw rocks at the character, have the character get back down." That's a nice analogy but how you're supposed to apply it to a romance or a science fiction story or a courtroom drama? Snyder gives real advice that writers can apply right away.This book is best known for its discussion of what is known as "beats." Snyder created a basic formula of elements that will fit almost every story out there to tell. He even breaks the beats down to what page number they should appear in the screenplay which has lent itself to a spreadsheet called the "beat sheet" that has become essential in modern Hollywood. The beats have also been applied to TV shows, novels and other forms of fiction. There's been a lot of the criticism of the beats as being formulaic, but it's really just a system that fits story arcs going back to ancient mythology. Almost any story is going to have a midpoint where there are highs or lows and "bad guys closing in."Beyond the beat sheet, there are also tips like writing young characters to reach the widest audience, using distraction to gloss over exposition, and not making the story too complicated. I thought Snyder's advice was very practical and could be applied right away, but is something I've never seen in print, so it's welcome.Yes, this book isn't for people who want to write metaphorical or metaphysical drama that explores the human condition. If you want to write a movie or novel that will sell to a small and limited audience, this isn't the book for you. If you want a book that will tell you how to write blockbuster stories for the biggest audience, I can't think of a better one.

Having just finished reading this book I've decided to make another pass, focusing mostly on my highlights and notes, with every confidence this book will remain on my reference shelf (or in my Kindle where it actually resides) for the rest of my professional life. Well written, interesting, and with many excellent points, it's a good, solid, interesting read.One can tell many reviewers, readers, wanna be screenwriters, and others are certain this book is off the mark and too formula to have value. These same folks need to spend more time actually watching and analyzing many of the films Hollywood puts out even today (2018). This book is right on the money. Sure, there are exceptions to the rules, but as Snyder - and any expert, trainer, pro, or individual with a track record and street cred will tell you, you must know the rules before you dare break them. Save the Cat is a prime example of this concept.I've heard of the book many times over the years, but until I decided to commit full time to my screenwriting I'd not taken the time to grab it and read. I'm sorry I wasted the time. Not only as an academic, non-fiction, and fiction writer, but as a media psychologist this book is a great read with some seriously solid insights. On the other hand, as a newer screenwriter it's a great help, and it lays a solid foundation for much of what Hollywood offers, has become, and will remain. Whether or not you agree with anything he writes, as any professional knows, you always read the books and experts who know the pathway.I highly recommend this book for anyone who is considering being a screenwriter - or writer - or loves film.

Everyone kept suggesting I check out this book and praising it. I hadn't really read any film books outside of school. (I graduated in 2014 with a BA in Television Production) And this book just crapped on most of my schooling. It changed so many approaches to writing for me and it's crazy how effect it is in such simple ways. And it'll save you loads of time. And it's written in a very informal way. More like a buddy who doesn't pull punches nor tries to convince you of his intelligence with ridiculously fluffed vernacular. It's simple. It's casual. It's straight to the point. And it's gonna save you loads of time, money, and growth errors. Buy this book.

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