Book Description
Got a craving for the creepy? Satisfy it with this Halloween-tailored special You Can Draw volume, focusing exclusively on monsters and the macabre. Featuring fan favorites like Ben "Diabolical" Dunn, David "Horror" Hutchison, Rod "Eerie" Espinosa, Craig "Boo!" Babiar, Shriekin' Sherard Jackson, and Brian "Devilish" Denham, this book will teach you all you need to know about drawing ghoulies, ghosties, long-leggedy beasties, and boogums!
Customer Reviews:
Good tips.......2004-01-22
Here are some of the types of monsters that this book covers: cult classic monsters, Robotic monsters, aliens, Godzilla-styles monsters, humanoid monsters, plant monsters, and sea monters. This book covers basic tips, such as the box form to use and there are lots of examples. In the beginning, the tutorial on drawing cult classic monsters were really good. I like that part the best. The authors start off using basic body forms and guiding you through the steps. But as we turn to the later part of the book, the steps are truncated and the authors merely point out the sketches.
The main reason for knocking one point off the rating is because this is NOT for beginners. People who are considering this book should have a good feel for drawing shapes and anatomy. This book also assume you know the workings on perspective and shading, as well as how to detail and adding effects.
The drawings are from the studio of Antartic Press, which also produce such comics as "Gold Diggers," "Warrior Nun Areala" and the "How to Draw Manga" series. The artists present a mostly Manga and Japanese Anime feel to it. Inspiring artists who wanted to get a glimpse at AP's studio style should consider this book.
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My Years With Apu: A Memoir
Satyajit Ray
Manufacturer: Penguin Books,India
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ASIN: 0140247807 |
Product Description
19 tales of detection by Ray's master sleuth, Feluda. includes new material. trans, Gopa Majumdar
Book Description
"Striking images of a land renowned for its contradictions and variety as viewed by one of the great artists of our century."—Houston Post
Henri Cartier-Bresson's record of his fascination with India over half a lifetime contains the very best of his photographs of that country. Beginning in 1947 at the time of Independence and produced during six extended visits over a twenty-year period, these beautiful, dramatic images are shaped by an eye and a mind legendary for their intelligent empathy and for going to the heart of the matter.
Cartier-Bresson's extraordinary gifts of observation and his famous "mantle of invisibility," as well as his good connections with Jawaharlal Nehru and others, allowed him to capture the quintessence of India. His pictures of Hindus in refugee camps after the Partition or beggars in Calcutta speak with the same passion and authority as those of the Maharaja of Baroda's sumptuous birthday celebrations or of the Mountbattens on the steps of Government House. Ample space is given to his famous reportages, such as the astonishing sequence on the death and cremation of Gandhi. But above all, it is the apparently ordinary faces and scenes from market, temple, or countryside that have the power to put us in direct touch with the spirit of a country and its people. 105 duotone illustrations.
Customer Reviews:
Henri Cartier-Bresson in India.......2007-08-27
What a great book. Mr. Bresson is one of the great photographers of our time. The Images are emotional and brilliant.
I wish it was available in hard cover.
henri in india.......2003-06-21
the cover photo is a classic and the ghandi images just before his assasination are truly an historical treasure but the rest of the book should have been edited better by the publisher
Superb photographs but...........2003-05-02
Again this is a set of beautiful photographs by Cartier-Bresson. There are some superb pictures. My favorite is number 64 titled, "The Maharaja of Baroda distributing sugar balls to the poor...". What a contrast of emotions on the faces! Specially the look on the young boy who albeit begging still has a somnolent remnant of pride and defiance.
I was hoping to see more from the 1947 through 1956 era which was the beginning of free India. A beautiful book.
Will make an interesting addition to any collection.......2002-10-28
This book is the photographic record of Henri Cartier-Bresson's six extended visits to India. In addition to some rare pictures of difficult moments of Indian history, important personalities who defined the political scene, he also captures the quintessence of everyday Indian life. His lens conveys his understanding and deep regard for this country.
This book also includes a very interesting article on Hinduism by Yves Vequaud because, as the author says, "...many tourists who visit India today are still hidebound by the monotheism of their own religions and are apparently unreceptive to the philosophy which underlies a world very different from our own..."
This book would an interesting addition to any collection. But to think that you would understand India or become an armchair traveler by buying this book would be a mistake, since most pictures are from 1948, 1966 and 1950 (There are a few from 1947, 1980 and 1986). India has undergone significant changes in the past 15 years. A more appropriate book for armchair travelers would be "Spectacular India".
a worthy addition to your library.......2002-06-27
I recently purchased this book, as well as Cartier-Bresson's books about Paris and Mexico, and as much as I like the other two books, I think that this is definitely the best of the three books. Whereas the subjects of the other two books are of more of an artistic or sociological nature, the subjects of this book are primarily political in nature. Cartier-Bresson was in India in 1947 (as well as numerous other occasions) to photograph the turbulent times of the country. Some pictures are of Gandhi the day before his death, others are of his body on the funeral pyre. These images are spectacular. There are plenty of images of day to day life in India ( the most current being circa 1966) and these are quite nice - I especially like the photograph of the saris (which are about 5 yards long) drying in the sun. This is such a beautiful book- and it is much cheaper than a trip to India!
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Best of Satyajit Ray
Satyajit Ray
Manufacturer: Penguin Books
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Our Films Their Films
ASIN: 0143028057 |
Book Description
Here finally are 21 of the very best of Satyajit Ray's short stories, available together for the first time between two covers. This collection features four new stories, translated specially for this volume. It also contains all eight stories that Satyajit Ray translated himself into English.
Average customer rating:
- ESSENTIAL FOR YOUNG FILMMAKER
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My Years with Apu
Satyajit Ray
Manufacturer: Faber and Faber
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ASIN: 057117695X |
Customer Reviews:
ESSENTIAL FOR YOUNG FILMMAKER.......2001-10-31
Anybody who dreams making a film should read this book. Ray, the master filmmaker tells us how to get your dream into a reality with dedication and courage. Excellently edited by Mrs Bijoya Ray.
Average customer rating:
- A great glimpse into the youth of a fascinating artist
- Those were the best days ..
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Childhood Days- A Memoir
Satyajit Ray
Manufacturer: Penguin Books
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Our Films Their Films
ASIN: 0140250794 |
Customer Reviews:
A great glimpse into the youth of a fascinating artist.......2006-09-17
Graceful and quick as a read - this is an essential read for fans of Satyajit Ray.
Translated by Ray's wife, CHILDHOOD DAYS was first published in the Bengali children's magazine "Sandesh," and is primarily geared towards a young audience.
But Ray sheds light upon his own very fascinating, rather bohemian upbringing, and after reading this one will easily spot the many strands of disguised autobiography surfacing in many of Ray's films.
CHILDHOOD DAYS is expanded or augmented with additional writings on the making of "Pather Panchali," and also "Goopy Gyne Bagha Byne," which was his first children's film - and this section of the book is of particular interest as well. "Goopy" has paradoxically become one of Ray's most popular films in India, and is a major entry in his overall body of work, in spite of being very rarely screened internationally. This portion of the book is a fairly direct address to kids who would have loved this magical and mesmerizing film, but also serves to pique the curiosity of non-Indian film aficionados of all ages (I was only able to locate a copy of the film after extensive searching).
In any case, CHILDHOOD DAYS manages to serve as several things - foremost a shimmering, smart bit of writing for young audiences, and simultaneously, a fascinating yet unpretentious creative autobiography.
I have biases towards Ray's films and writing, but I still recommend.
-David Alston
Those were the best days .........2002-04-17
This is Ray's autobiography ,translated by his wife Bijoya Ray.
Ray paints his childhood days (from very little age till when he crossed 16 years) with such minute details and interesting incidents that one has to finish this book in one go.
His passion for cinema(Ray is a world-known director)is grown in these earlier years thanks to those Hollywood movies coming regularly to Calcutta at that time.
One can get the live sights and sounds and life of Calcutta in this book during the time period of 1926-1936.
This is a great work.
Book Description
This book brings together Satyajit Ray's major writings and talks on film making and film makers, and presents them in two sections. 'Our Films' is devoted mainly to his own experiences and contains many interesting anecdotes, but also has observations to offer on trends in Indian films. 'Their Films' deals with some films from abroad that have become landmarks in the history of the cinema from the silent era to the present day.
Customer Reviews:
Fantastic Critical Writing From Satyajit Ray.......2006-09-16
The great Bengali filmmaker/writer/composer Satyajit Ray is one of my greatest heroes, so this will not be any kind of an objective review. So be it.
Ray's roots were in - among other things - film criticism; a background he shared with fellow filmmakers Jean-Luc Godard and Nagisa Oshima, and he never stopped being fascinated by film - it's potential, the theories surrounding process and technique, and even after launching his own filmmaking career (PATHER PANCHALI - a debut of similar stature to CITIZEN KANE or BREATHLESS) with quite a splash, Ray continued to view other films with both the analytical precision of a scholar, and a fan-like fascination retained from his own childhood and adolescence.
OUR FILMS, THEIR FILMS collects the best of Ray's critical writing (also including some diary excerpts and otherwise uncollected film musings), from the late 1940s until the mid 1960s, and is divided into writings on Indian (OUR FILMS) and international (THEIR FILM) cinema. Ray's enthusiasms and his critiques are both rendered with very sharp, eloquent precision; one will come away from this collection with a very strong impression of an extremely erudite and restless creative mind.
For me, there are many highlights here: Ray's writings on Italian film, starting with neo-realism, which offer a number of insights that depart from current critical consensus; with some of the more well-observed (if concise) commentary on Fellini, Antonioni, DeSica, Visconti and others, I would say that this essay is overdue for rediscovery by current cinephiles.
Ray's writings on Indian new wave are provocative, and one subject I would have liked to see a bit more of his opinions - Ray was central to, but not the only noteworthy figure in Bengali Parallel Cinema, and I'd have liked to see more on this.
The multiple essays on Japanese film are revelatory - Ray's friendship with Akira Kurosawa surfaces, and one can detect a similarity in worldview, in spite of their (seeming) stylistic differences. Ray follows a detailed piece on Kurosawa with another more generalized one on Japanese cinema, and one gets the distinct impresion that it (and certain specific figures: Ozu and Mizoguchi) made a powerful impression upon him in many ways - foremost as another great non-Western cinema that had emerged with distinct theories and techniques of its' own.
And Ray's writing on Jean Renoir, Charlie Chaplin and Alfred Hitchcock comes alive with the complex joy of cinema, offereing the greatest explanation for why he (or anyone) would want to make films.
-David Alston
Welcome to Ray's World.......2002-03-31
Ray proves in this book(written over a period of twenty years starting from 1948) that he is equally at ease with his pen and he can touch people's mind with his amazing clarity of reasons and a definite mastery over the film medium.
As the name of the book suggests,in the first part ,i.e,in "Our Films", he talks about Indian films and related matters.
The essays here are on different topics ranging from the problems of traditional Indian Cinema to various facets of his work; from his analysis of a few "new wave" films by other contemporary Indian directors to the sights and sounds captured in his diary during the shooting of Aporajito(The Unvanquished)in Benares.
The second part, "Their Films" ,talks mostly about the films of Hollywood,Japan and Italy and Russia.Essays here are more captivating as they portray Ray's meetings with such greats as Renoir and Kurosawa and elaboration on few of their works.
Not to miss are the essays on Hitchcock's biography written by Trauffau,Chaplin's autobiography and a tribute to great John Ford and one on Italian neo-realistic genre.
Ray is completely successful in sharing his love for simple ,realistic, human documentary than craftsmanship in this book.This is a great book-for anybody who appreciates good cinema.
Brilliant essays on creativity and culture.......1998-06-14
Our Films, Their Films is a brilliant chronicle of creative thinking by one of the one of the world's most brilliant playwrights. This book is a must for anyone who questions what creatiity is and how culture affects creativity. Ray's essays are both endearing and quite lucid for the normal person to read and understand. All of Satyajit Ray's stories should find their way back into print. He was a breath of fresh air in the film industry.
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Satyajit Ray: Interviews (Conversations With Filmmakers Series)
Manufacturer: University Press of Mississippi
ProductGroup: Book
Binding: Paperback
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ASIN: 1578069378 |
Book Description
India's preeminent film director, Satyajit Ray (1921-1992) came to public attention in 1955 with Pather Panchali, the first installment of what became known as the Apu trilogy. It was the motion picture that introduced Indian cinema to the West. Initially critics considered Ray a poetic chronicler of Bengali village life, but soon he showed himself adept at making movies that incorporate contemporary urban life (Branches of the Tree), Indian history (The Lonely Wife), comedy (The Philosopher's Stone), musical fantasy (Kingdom of Diamonds), children's subjects (The Golden Fortress), and even documentary elements (Rabindranath Tagore).
Satyajit Ray: Interviews reveals a genial, generous, unpretentious, immensely knowledgeable man who, for all his fame, remained to the end amusedly indifferent to movie-world glamour.
Scripting, casting, directing, music-scoring, camera-operating, working closely on art direction and editing, even designing his own credit titles and publicity material--Ray did it all almost from the start of his career. His films come close to being wholly personal expressions yet achieve a global resonance.
Customer Reviews:
Awesome.......2007-05-19
Great book. The introduction is, along with Robin Wood's introduction to woods masterful book "Apu Trilogy", the best short introduction to the works of Satyajit Ray. The interviews ofcourse contain many repetitions, but all in all, a great insight into the mind of a peerless artist.
Average customer rating:
- terribly annoying
- darius cooper: an up and coming author!
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The Cinema Of Satyajit Ray: Between Tradition an Modernity (Cambridge Studies in Film)
Darius Cooper
Manufacturer: Cambridge University Press
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Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker
ASIN: 0521629802 |
Book Description
The most comprehensive treatment of Satyajit Ray's work, The Cinema of Satyajit Ray makes accessible the oeuvre of one of the most prolific and creative filmmakers of the twentieth century. Providing analyses of selected films, including those that comprise The Apu Trilogy, Chess Players, and Jalsaghar, among others, Darius Cooper outlines Western influences on Ray's work, such as the plight of women functioning within a patriarchal society, Ray's political vision of the "doubly colonized," and his attack and critique of the Bengali/Indian middle class of today.
Customer Reviews:
terribly annoying.......2004-12-17
Darius Cooper's approach seems interesting and brave at the outset, but is really just a manufactured generic and shallow "Indian aesthetic," which boils down to a few Sanskrit words taken from some translated anthologies and superimposed over Ray's work. Whlie it might be acceptable to assume that certain Indian aesthetic ideas were pervasive throughout its history, there is absolutely no attempt to show that Ray ever would have looked into or cared for 1000-year old aesthetic theories of Sanskrit writers. The selective and specific theories and terms that Cooper applies with his interpretations, are forced to fit atop the text.
Cooper's attack on western readings of Ray's films that 'seem to suffer from a very serious lack of critical understanding of the social historical and cultural traditions of India..." raises a legitimate concern and his critique of the flat out wrong way in which the Krishna myth is superimposed on the story of Apu by a number of critics is right on point. The problem is, he simply takes a slightly more esoteric text and does the same thing. India is big. Where is the continuity between a tenth century Kashmiri writing about drama and the 20th century Bengali filmmaker?
This is a poor piece of scholarship, often a mere incorporation fof italicized Sanskrit words which add no elucidation to the interpretation, coupled with a whiny critique of prior Ray criticism. For Cooper, all "abhinaya" ends up meaning is gesture. Then why not just say gesture.
At his absolute worst, Cooper takes from the published screenplay as transalted by Shampa Banerjee and interprets dialogue from this screenplay that was NOT IN THE FILM!! At other times, he is more culturally ignorant than your worst 19th century white man's burden-type "scholar," as when he makes the sweeping generalizatoin that "In a Hindu family, the wife is never expected to speak to her husband except from a position of subservience. That is her social standing. She must have her sari over her had, and her face has to be partially covered in her husband's presence." What?? Says who? In the post-Gandhi post independence age, this is simply the way all "hindus" behave? It gets to the point where even his dedications, to "my Apus" and "my Ray woman" are annoying. This is the worst book on film criticism I have ever read. Somehow he played the whole "niche" market and wearing his nationalist agenda on his sleeve ("As an Indian myself") weakens the book further without giving him any of the authority he somehow seems to expect in matters of Sanskrit aesthetic theory.
darius cooper: an up and coming author!.......2001-02-19
this book was the in-depth analysis of this great Director's work. Cooper is one of the first authors to really deconstruct the films of Satyajit Ray into a consolidated, comprehensive, and meaningful text. I hope to see more of this up and coming author sooner!
Book Description
Satyjit Ray's films include the Apu Trilogy, The Music Room, Charulata, Days and Nights in the Forest, The Chess Players, and The Stranger. He also made comedies, musical fantasies, detective films, and documentaries. He was an exceptionally versatile artist who won almost every major prize in cinema, including a lifetime achievement Oscar in 1992. This is the best-known biography of the film giant, based on extensive interviews with Ray himself, his actors, collaborators, and a deep knowledge of Bengali culture. This second edition contains extensive new material covering Ray's final three films made in 1989-1991, a discussion of his artistic legacy, and the most comprehensive bibliography of Ray's own writings.
Customer Reviews:
A treasure of information!.......2007-06-18
I cannot think of a more definitive biography than this one! The biography of a master filmmaker is of remarkable detail. Uncommon extras, from something as simple as a section on the maternal and paternal family tree to a page devoted to the pronounciation and origin of the name Satyajit Ray.
Another unusual detailed section is NOTES. The notes refer to a reference line or quote and it's source, publication and date. If the section refers to the Apu Trilogy, then any quotes are clearly identified. Another feature is the glossary of words taken from the book, the languages are Bengali and other Indian languages.
You will also get a complete Filmography and Bibliography, and the book includes a definitive index.
The biography begins with his early life 1921 to his life as a commercial artist and critic. What I believe to be his most famous work, The Apu Trilogy, is well documented and a synopsis is included.
There is plenty of insight into his others, The Music Room, The Goddess, Three Daughters, Kanchenjungha, The Expedition, The Big City, The Lonely Wife, The Coward, and The Hero, Calcutta Trilogy, Distant Thunder, Chess Players, and more.
And, there is more! This is a wonderful reference to one of the greatest movie directors in history. And, he is also a composer!
The version has been updated to cover his death in 1992 and the Ray legacy. A quote on the book from Films and Filming reads: 'A glorious book, a feast of research and insight'
If you haven't seen a Satyajit Ray film, do so and read about it here within 420 pages. ......MzRizz
As Great And Vast As Its Subject.......2006-09-16
Any serious admirer of Satyajit Ray probably is already aware of this biography; I would also recommend it to general readers: if you aren't already familiar with Ray (I don't know many Americans who are), you will love him by the time you're done with this very engaging and readable critical bio.
Robinson, who had been a friend of Ray's, spent a number of years working on this, and his account of Ray's family and childhood draws upon interviews and conversations, supplemented with material from Ray's own CHILDHOOD DAYS, MY YEARS WITH APU, and other sources. Robinson paints a portrait of a Calcutta overflowing with creative potential - Ray's family connections to Tagore are also detailed, as are the accomplishments of his father and grandfather, and the intellectual independence of his mother, who seemed to strongly influence at least a few of his cinematic characters.
Later on, Robinson engages in a film-by-film analysis of Ray's career, which includes shorts and documentaries. Accessible but well-researched and well-written critiques are followed with some personal impressions, and quotes from varied film critics and other filmmakers: fans of Jean Renoir and Akira Kurosawa will note their presence here, and their influence upon Ray's thinking and career. Robinson locates each film with certain contexts: Indian cinema, the 1950s/60s international arthouse boom, the artistic milieu of Calcutta, and Ray's many international influences and fascinations; the end result is something that will make one want to see (and read) as much of Ray's work as one can get one's hands on.
I'm a big admirer of Ray, but - in it's success in realizing its' ambitions - Robinson has also created one of the greater artistic biographies I've run across - this is a rich and very sophisticated piece of writing which I very highly recommended to all.
-David Alston
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