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About this catalogue
About movies: attempts to keep track of their volume; organise them into hierarchies, in front of and behind the camera; or according to genre, style, period, region, and history; raw materials and infrastructure: costumes, analogue, digital, flip books, cinematography, script writing; memoirs, biographies, monographs, interviews; their appeal to the other arts: moonlighting poets and photographers and, reciprocally, directors writing novels; venues, seasons, posters, exhibitions and merchandise; outliers: UBU Films, ‘The Clock’, the Yellow House, Cheeta, ‘Dracula’s Forgotten Brides’, Odorama, ‘Paprika’, ‘The Devil’s Camera’; and, the previous elements notwithstanding, a shot at documenting the subjectivity of the movie experience.
Boston, MA: MIT Press. First American edition, 1997.
A type of 'where are they now' collection about the most talkative character in 2001: sixteen essays – including 'Does HAL Cry Digital Tears? Emotions and Computers', 'When Will HAL Understand What We Are Saying? Computer Speech Recognition and Understanding', 'When HAL Kills, Who's to Blame? Computer Ethics' – written almost thirty years after '2001' and now almost a further thirty years on, a marker of the subsequent changes in the digital world; illustrated.
Fine in dustwrapper.
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London: William Heinemann. First English edition, 1990.
Downstream from 'Death in Venice': Giles De'Ath sees Ronnie Bostock in 'Hotpants College II' at a multiplex, becomes obsessed, and goes in search of his fanboy; a movie version by Richard Kwietniowski followed in 1997.
Fine in dustwrapper.
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London: The Epworth Press. Reprint, 1932.
The movies as 'the enthronement of lust and immorality' - 'for the first time the glamour of the screen is torn aside and the menace of many modern films is shown in convincing detail'; dedicated to 'the ultimate sanity of the White Races'; second printing two months after first publication.
Pictorial wrappers. Worn around extremities. Good.
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Santa Barbara, CA: Capra Press. First American edition, 2003.
Foreword by William F. Nolan, afterword by Ralph B. Sipper. From 'Thieves Like Us' by Edwin Anderson to 'The Caine Mutiny' by Herman Wouk, or from 'And Then There Were None' by Rene Clair to 'Western Union' by Fritz Lang; 60+ essays on the journey from book to movie; illustrations of the first editions of the books; #6/100 numbered copies (total edition 2,126) signed by the author, William F. Nolan and Ralph B. Sipper.
Fine in dustwrapper.
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London: The Tantivity Press. First English editions, 1968-1972.
Six volumes: 'Early American Cinema', single volumes for each decade from the 1920s until the 1960s; a trawl through the dominant strands of the decade: studios, stars, directors, money, business and into those out of step; illustrated.
Pictorial wrappers. A couple of vols. with pencil annotations and owners' signatures, else all very good or better. The six vols.
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London: Tate Publishing. First English edition, 2011.
Exhibition catalogue. Analogue versus digital, and in the analogue corner: essays by the editor and Tacita Dean; followed by eighty-one contributors from the broadest net imaginable, including, Victor Erice, Jeffrey Eugenides, Jean-Luc Godard, Jonas Mekas, Marina Warner, Amy Taubin, Nicole Brenez, Steven Spielberg, Keanu Reeves and Martin Scorsese; illustrated throughout; Stanley Kubrick's letter of instructions to projectionists for screening 'Barry Lyndon' (8 December 1975) as a preliminary page; and 'Reframing the Future of Film' with Tacita Dean and Christopher Nolan, illustrated booklet, 57pp.
Pictorial wrappers. Three small marks on foredge, else fine. And 'Reframing', pictorial wrappers, stapled. Fine. The two items
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London: Faber and Faber. First English edition, 2000.
Not all that much really though the author maps out bits of his subject's stringent worldview, 'Once upon a time, I often reflect, people thought highly of the right to fail, but now all that matters is the obligation to succeed'; and also about: Nicholas Ray, Peter Brook, post World War Two England, 'Sight and Sound', the pull of Hollywood, and the author.
Fine in dustwrapper.
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Houston, Texas and Miami, Florida: ATC / ETC Publications, Vital Sounds. Reprints, 1994-1996.
Two volumes: Reviews of 400 films featuring horror and exploitation. A-Z listing by movie, credits, summary comments, illustrated; genre, director index; introduction by Craig Ledbetter.
Pictorial wrappers. Remainder stamp bottom edge and shadow from price sticker on rear panel of vol.1, else both fine. The two vols.
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New York: Henry Holt. First American edition, 1988.
An illustrated tracking of the female child star, her transformation into variations of the nymphet and onto 'the blatant exploitation of the premature sexuality of such actors as ...'; illustrated.
Pictorial wrappers. Very good.
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London: Phaidon. First English edition, 1994.
Photojournalists moonlighting on movie sets, editing and makeup rooms, locations, mealtimes; not all decisive moments but most unguarded and, from this distance, many have become emblematic for the movie that they are representing; photographers include: Henri Cartier-Bresson, Raymond Depardon, Susan Meiselas, Bruce Davidson, Robert Capa, Inge Morath ... 150+ reproductions, most full page.
Fine in dustwrapper.
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London: Bloomsbury. First English edition, 2002.
The mutual attraction between movies and photography; art forms at ten paces, or Magnum on location with ... see image.
Fine in dustwrapper.
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Sydney: University of New South Wales Press. First Australian edition, 1997.
Printed ephemera steps up and provides an illustrated history of these years of a smaller Australian wave of movie making; filmographies, bibliography, and arranged chronologically from 1965-1970.
Pictorial wrappers. Fine.
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Sydney: Media21 Publishing. First Australian edition, 2012.
Beginning at the Union Theatre, Sydney University, 28 March 1963; through that decade in Sydney: music, art, theatre, movies, happenings, the Push; some cast members' excursions to London; illustrated throughout, again with a preference for printed ephemera; 480pp., indexed.
Pictorial wrappers. Fine.
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New York: Praeger. First American edition, 1969.
Compendium of Hollywood leads and character actors who played bad men on both sides of the law; illustrated; originally in 'Movie Magazine', 1967.
Bookplate. Fine in dustwrapper.
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Berkeley, CA: University of California Press. First American editions, 1986, 1991.
The first two volumes of the series; organised by decade: 'Hollywood's Golden Age', 'the 1940s and 1950s'; twenty-seven writers and teams, including: W.R. Burnett, James M.Cain, Philip Dunne, Casey Robinson, Garson Kanin, Leigh Brackett, and Curt Siodmak; an oral history of the other auteur theory; illustrated, bibliography, indexes of movies, plays, television programs and books, 800pp; Joel Greenberg's copies with his ownership stamp; laid in is an autograph note, signed to Joel Greenberg from Patrick McGilligan belatedly sending vol.2.
Ownership stamps, spots of foxing to extremities, very good in dustwrappers with tape shadows on reverse. The two vols.
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New York: Theater Communications Group. First American paperback edition, 2014.
Summer 2012, a 'falling apart cinema in Worcester County, MA'; three lowly paid employees clean up.
Printed wrappers. Fine.
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London: Faber and Faber. First English paperback edition, 2024.
Strafford and Quirke #4 and, now fair to say, Phoebe, the latter's daughter.
'How many cinemas were there in Dublin? He thought he must have been to them all over the past year and a half, since the death of his wife. Mostly he went in the afternoons, when there was no one there but himself and a few other vague maimed solitary souls. It was a place to hide, in the rich, dusty darkness. He found it comforting, a little comforting, to sit back and rest in the flickering glow of the giant soot-and-silver images moving before him. He made little effort to keep up with the movie plots. When the opening credits rolled his mind relaxed, like a tensed muscle going slack.
Pictures in Technicolor he avoided. Monochrome was more realistic than all that garish colour. Or easier to look at, anyway. The actresses’ skin had a wonderfully stark, chalky paleness, the stuff of their frocks flared and shimmered with an electric energy, and shed blood was black. …'
Pictorial wrappers. Fine.
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London: Lorrimer. First English paperback edition, 1971.
Original shooting script of the Bunuel movie, including details of many scenes and dialogues not included in the released version; illustrated with frame enlargements; two interviews with the director; essays by Elliot Stein and Andrew Sarris; the 'Asiatic' and the mystery of the contents of his 'lacquered box' remain unsolved.
Pictorial wrappers. Very good.
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New York: Alfred A. Knopf. Reprint, 2003.
'Love and Politics in New York, Hollywood, and Paris'; the autobiography of the stage and movie actor, investigated and blacklisted by HUAC; career in the USA, Europe – notably in 'Il grido' – and England; marriages to Gene Kelly (1941-1957) and Karel Reisz (1963-until his death in 2002) ... inscribed by the author to Rohan McCullough and her husband Hugh Whitemore, and signed by her on the title page.
Fine in dustwrapper.
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London: Jonathan Cape. First English edition, 1975.
The French movie director's first novel, first published as 'Les Valseuses' in 1972; 'Going Places', a movie version directed by the author followed in 1974; translated by Patsy Southgate.
Extremities a little dusty, very good in dustwrapper sunned on the spine.
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Santa Barbara, CA: Neville Publishing. First American edition, 1989.
The director's autobiography beginning with him entering Twentieth Century Fox in September 1940 and through to the years trying to make his movie about, and starring, Carlos Azzura, the Mexican matador; #25/50 numbered copies (total edition of 300) signed by the author, Barnaby Conrad who wrote the introduction and Robert Stack who wrote the preface.
Original full leather binding stamped in gold. Fine in slipcase as issued.
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London: George Allen and Unwin Ltd. First English edition, 1973.
Published in the USA as 'Pieces of Time' – twenty-three essays on his American cinema, including Cary Grant, John Wayne, 'Sex and Violence', Ernst Lubitsch, 'Screenwriters and Preston Sturges', and the author's shot at the appeal of movies,
'Can I tell one quick story? It's not a funny story, but it's a nice story to end with. It has to do with why we all sit around talking about movies so much. What is it we like about the movies? I was sitting with Jimmy Stewart one time and we got on to the subject of movies and the effect they have on people. And Jimmy told me this story: "We were shooting a picture in Colorado. We broke for lunch, and it was the usual terrible box lunch. And this guy, an older fella, who'd been watching us, he comes over to me and says, 'You Stewart?' I said, 'Yeah.' He said, 'You said a poem once in a picture. That was good.' And I said, 'Thank you very much.' That was all he said and he walked away. And I knew just what scene he meant – it was a scene in a picture made twenty years before, and it was just about a minute, and he'd remembered it all these years. And I thought, that's the wonderful thing about movies. Because if you're good, and God helps you, and you're lucky enough to have a personality that comes across, then what you're doing is, you're giving people little... tiny... pieces of time... that they never forget." Isn't that a great description of movies?'
Very good in fine dustwrapper.
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London: Lorrimer. First English edition, 1972.
The French New Wave, American genre movies and 'Esquire Magazine' align in Hollywood: the screenplay by David Newman and Robert Benton, illustrated; separate pieces by the screenwriters, also Arthur Penn, and Robert Towne; interviews with Arthur Penn (two, one by the French, the other by Curtis Lee Hanson), one with Warren Beatty; and eight contemporary secondary sources: Andrew Sarris, Bosley Crowther, Pauline Kael, Tom Milne, John Coleman, Judith Crist, Joseph Morgenstern, and Hollis Alpert.
Fine in dustwrapper.
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New York: Columbia University Press. First American edition, 1985.
Taking the machine apart - 'Film Style and Mode of Production to 1960' - from 1909 in seven sections: 'The Classical Hollywood Style, 1917-1960', 'The Hollywood Mode of Production to 1930', 'The Formulation of the Classical Style, 1909-1928', 'Film Style and Technology to 1930', 'The Hollywood Mode of Production 1930-1960', 'Film Style and Technology 1930-1960', and 'Historical Implications of the Classical Hollywood Cinema'; appendixes, indexed, and illustrated throughout.
Fine in dustwrapper.
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London: Jonathan Cape. First English edition, 1958.
Joanna Trask, from small-town America, wants to become an actress and ...; the third novel by the journalist and playwright.
Owner's signature and stamp, extremities dusty and lightly foxed, else very good in dustwrapper with endorsements by Kay Boyle, Elia Kazan and Julie Harris
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New York: New York Zoetrope. First American edition, 1986.
A song, graphics, letters, unfamiliar photographs, essays, including three by Louise Brooks, as well as by Lotte H. Eisner, Roland Jaccard, Andre Laudeand Tahar Ben Jeeloun, together with the largest single collection of personal photographs, show all sides of the legendary actress who rebelled against the idolatry of Hollywood to preserve her independence and individuality.
Pictorial wrappers. Fine.
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[Sydney]: The Other Films. First Australian edition, 1993.
Program to accompany a screening of the restored 'Pandora's Box', at the State Theatre, Sydney, accompanied by a string quartet performing a score composed by Jen Anderson; or 'the movie event of 1993' is a 1928 movie; synopsis, biographies, illustrations and musicians' details.
Pictorial wrappers, stapled. Fine.
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New York: Alfred A. Knopf. First American edition, 1990.
Deeper into the silent cinema's treatment of poverty, racism, prohibition, women's suffrage, the prison system, drugs, most aspects of sexual relations, and censorship; illustrated, indexed; striking original research.
Remainder marks top and bottom edges, else fine in dustwrapper.
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London: Lorrimer Publishing. First English paperback edition, 1972.
Screenplays, some illustrations, to three of the director's Mexican movies; introduced by Ado Kyrou, J.Francisco Aranada and Andre Bazin respectively.
Pictorial wrappers. Owner's stamp, spots of foxing to prelims. Very good.
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New York: Marsilio. First American edition, 1992.
A book-length interview journey through the director's life: Calanda, Madrid, Paris, then movie by movie from 'Un Chien Andalou' to 'That Obscure Object of Desire', or one of the most varied of careers; 'By the end, the real and the imaginary fuse. I myself cannot tell you what is real and what is imaginary in the film. For me they form the same thing' re 'Belle de Jour'; illustrated, filmography, bibliography; edited and translated by Paul Lenti.
Fine in dustwrapper.
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Chicago: Swan Isle Press. First American edition, 2007.
Memoir and fragments constructed from the author's notebooks re family meetings with Luis Bunuel and Jeanne Rucar, the director's wife; illustrated.
Fine in dustwrapper.
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London: Jonathan Cape. First English edition, 1984.
A Hollywood novel beginning in 1914 with an American film crew heading to France to film World War One; in a mix of fact and fiction, a silent film star and an ambulance driver pursue their destinies while historical figures such as Albert Einstein, Winston Churchill and Charlie Chaplin make an appearance.
Foxing to extremities, very good in dustwrapper.
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London: Jonathan Cape. First English edition, 1993.
Five tantalising autobiographical pieces including 'A Cinemagoer's Autobiography', beginning 'There were years when I went to the cinema almost every day and maybe even twice a day, and those were the years between '36 and the war, the years of my adolescence. It was a time when the cinema became the world for me.'
Spots of foxing to prelims, else fine in dustwrapper.
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New York: Abrams. First American edition, 2023.
A chronological overview and exploration of the celebrated filmmaker's creative process, film by film, featuring interviews with Campion herself; illustrated with film stills, as well as with annotated scripts, storyboards and personal documents; includes three short stories about the poet John Keats written by the director, Holly Hunter's memories of their collaboration on 'The Piano' and 'Top of the Lake'; detailed filmography and bibliography with more than three hundred colour and black-and-white illustrations.
Pictorial boards. Fine as issued without dustwrapper.
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Millbrae, CA: Celestial Arts. First American paperback edition, 1975.
Combining the author's skills of photographer, director and writer into, his term, 'a paper movie'.
Pictorial wrappers. Fine.
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Berkeley, CA: University of California Press. First American edition, 1995.
Seven sections – 'The Forbidden City', 'Mecca of the Movies', 'New Byzantium', 'Mystique or Sex Appeal', 'Hollywood by Night', 'The Great Mystery of Sex Appeal' and 'Hollywood 1936' – responses to two weeks in Hollywood during 1936 by the most peripatetic of the early twentieth century French writers; twenty-nine illustrations by Jean Guerin.
Fine in dustwrapper.
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Administration, [1926].
'Les aventures acrobatiques de Charlot' No.2; cartoon adventures with The Tramp, through 64pp., between eight and nine panels per page, every second double spread coloured. French text.
Pictorial wrappers. Covers worn, rear cover missing; internally clean. Just good.
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New York: Ecco. First American edition, 2009.
The first, and only, autobiography about the bromance between a jungle hottie and no simp of a chimp; Cheeta from the Tarzan movies, aided by his secretary James Lever, dishes the dirt on the Golden Age of Hollywood; explosive chimp chat includes scandal on set and behind the scenes; Johnny Weissmuller and Cheeta – Best Friends Forever.
Fine in dustwrapper.
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Melbourne: Liquid Architecture. First Australian edition, 2017.
Introductory booklet and program issued to accompany Michel Chion's lecture and performance tour of Australia and New Zealand; 14pp., illustrated.
Pictorial wrappers, stapled. Fine.
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London: Blackie and Son. Reprint, nd.
Tinseltown detox for Marilene Yates who becomes 'Mary Ellen' at school in England until ...; illustrated by E. Baker
A little edgewear, else very good in dustwrapper.
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Orange, CA: Image Comics. Reprint, 2003.
'The Comic Book', 'Holiday Special' (illustrated by Jim Mahfood), 'The Lost Scene' (illustrated by Ande Parks), chapter breaks by Gilbert Hernandez, Arthur Adams and Duncan Fegredo; signed by Kevin Smith on the front cover.
Pictorial wrappers. Very good.
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London: Viking. First English paperback edition, 2020.
Coming of age for the narrator on location for 'Fedora' and for the movie's creators as well.
Pictorial wrappers. Fine.
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London: Faber and Faber. First English edition, 1987.
Illustrated screenplay of Bill Douglas' only feature, an itinerant lanternist tells the story of the Tolpuddle Martyrs.
Pictorial wrappers. Extremities and adjacent to spine on front and rear covers evenly tanned. Very good.
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Sydney: Vagabond Press. First Australian edition, 2012.
A poetic biography of early cinema actress Marion Davies, one of Hollywood's forgotten figures – her movie career, relationship with William Randolph Hearst, and the entwining of the two; signed by the author.
Pictorial wrappers. Fine.
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Paris: 1989.
Original French poster for 'Calme Blanc' [opened in France 23 August 1989]. Philip Noyce’s horror movie; Nicole Kidman at twenty-two.
Poster measures 53 x 39cms. Old horizontal fold; now rolled. Fine.
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Oakland, CA: AK Press. First American edition, 2003.
Scripts: 'Howls for Sade' (1952), 'On the Passage of a Few Persons Through a Rather Brief Unity of Time' (1959), 'Critique of Separation' (1961), 'The Society of the Spectacle' (1973), 'Refutation of All the Judgments ... on the Film The Society of the Spectacle' (1975) and 'In girum imus note et consumimur ignite' (1978); plus ten related documents; illustrated, chronology, filmography, bibliography; edited and translated by Ken Knabb.
Fine in dustwrapper.
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Berkeley, CA: University of California Press. First American edition, 1981.
An overview of the director's career via categories of 'narrative form', 'construction of space', 'problematic unities' etc., followed by longer pieces on 'The Passion of Joan of Arc', 'Vampyr', 'Day of Wrath', 'Ordet', and 'Gertrud'; 300+ frame enlargements; together with 'Filmguide to La Passion de Jeanne d'Arc' (Indiana University Press, first paperback edition, 1973), the author's first book.
Spots of foxing to extremities, else fine in dustwrapper. Printed wrappers. A little sunned around spine, else fine. The two items
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New York: Random House. Reprint, 1994.
A Hollywood novel variation: a 1930s child star as an adult – 'cinemoppet' Blue Tyler disappears then reappears years later in Detroit.
Spots of foxing to extremties, else fine in dustwrapper.
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London: Studio Vista. First English edition, 1972.
Movies and eroticism: the author's enduring subject; how movies represent sex to find a way into our consciousness or 'the dynamics of sexual freedom' at the time of publication; illustrated.
Owner signature. Good in fair dustwrapper chipped at edges and sunned on part of the rear panel.
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New York: Dell Publishing Co. First American edition, 1966.
Comic tie-in for Howard Hawk's [sic] western (32pp.); writer and artist not credited, though the dialogue seems to have been lifted straight from the movie; the last item for the Howard Hawks completist.
Pictorial wrappers, stapled. Small piece missing top right corner of front cover, else very good.
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Paris: Avant-scene du cinema, 1961-1987.
#1-365, 315 issues, an unbroken run. Issued monthly or bi-monthly, a longer break during summer and, at this volume, an encyclopedic history of movies - one movie, or related group of movies, per issue: screenplay, reproductions, nature of the genre, interviews, critical articles, filmographies - and the changes in criticism, appreciation, and analysis over twenty-seven eventful years. French and American movies dominate, see an illustrated history of the complete journal and subjects in each issue at http://www.avantscenecinema.com/newsite/wp-content/uploads/2021/03/asc-catalogue-2021.pdf French text.
Pictorial wrappers. The same owner's stamp in some issues, else all very good or better. The 315 issues
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Paris: Jean Jacques Pauvert. First French editions, 1965-1971.
Four volumes. An illustrated encyclopedic dictionary of individuals, genres, techniques and machines embracing Europe, England and the United States; 2,000+pp., French text.
Original pictorial cloth. Same owner's stamp or signature in each volume, else all fine in original transparent dustwrappers and plain cardboard slipcases. The four volumes
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London: Weidenfeld and Nicolson. First English edition, 1974.
Screening notes from Cinema 16 refined and organised into a period encyclopedia to demystify societal taboos and survey world cinema; illustrated throughout; a trailblazer.
Prelims marked, extremities darkened, good in dustwrapper chipped at crown and base of spine and folds.
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New York: Viking. First American edition, 1980.
Two volumes. Alphabetical by, mostly, director, Euro and Americentric, other cinemas grouped together by nation and or period; comprehensive for the period; illustrated, indexed, 1,120pp.
Very good in dustwrappers. The two vols.
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London: Methuen and The British Film Academy. First English edition, 1950.
Screenplays with a small number of illustrations for 'Brief Encounter' by Noel Coward, 'Odd Man Out' by F.L. Green and R.C. Sherriff, and 'Scott of the Antarctic' by Walter Meade and Ivor Montagu; foreword by Frank Launder, 'Stars, directors and producers receive an excessive amount of publicity, but screenwriters are seldom mentioned'; introduction by Roger Manvell, 'The fiction film is a comparatively new method of telling stories to a large public.'; or movie history before the auteur theory and a shot at a push away from the documentary movement of the time.
Hugh Whitemore's, English playwright and scriptwriter, copy with his signature. Edgewear, Very good in dustwrapper darkened on the spine and around the perimeter.
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London: The Architectural Press. First English edition., 1980.
Design, both interior and exterior, history, from palaces to carpet showrooms; social history of the audience; illustrated.
Owner stamp, else fine in dustwrapper
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Paris: Editions dis Voir. First French edition, 1993.
Biographies of ninety-two individuals, surnames beginning with 'Fall', drawn from the Directory published every ten years, by the Committee investigating the Violent Unknown Event; or from Orchard Falla to Anthior Fallwaste; the English text accompanying the author's epic.
Pictorial wrappers. Fine.
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New York: Praeger Publishers. First American edition, 1971.
Forty-five essays and reviews, subjects include Val Lewton, 'The Third Man', Samuel Fuller, Don Siegel, various New York Film Festivals, and with 'The Subverters', 'Pish-Tush', and 'White Elephant Art vs. Termite Art' staking out his critical territory.
Fine in very good dustwrapper chipped at edges and creased at the crown and base of the spine.
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La Jolla, CA: La Jolla Museum of Contemporary Art. First American edition, 1978.
Exhibition catalogue. Essay by Amy Golden, preface by Sebastian Adler, seventy black and white reproductions, chronology, 72pp; the movie critic's, not completely unrelated, other life.
Plain wrappers, Fine in dustwrapper.
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New York: Library of America. First American edition, 2009.
'The Complete Film Writings'; 824pp., including index, chronology, notes, sources, 300+ pieces of 'termites versus white elephants'; edited by Robert Polito.
Fine in dustwrapper.
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New York: Milestone Film and Eye Filmmuseum, 2019.
Original American poster for the restored version of Mario Roncoroni's 'Filibus' (1915). The design features Filibus being lowered from her airship gondola and does not include her as Count de la Brive seducing ...
Poster measures 100 x 69cms. Rolled. A couple of nicks. Very good.
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London: Virgin Books. First English edition, 1981.
'The True Story of Chickens in the Cinema'; illustrated; inscribed by the author to John Baxter who has tipped-in a vivid, printed 2pp. summary setting out the background and context for this singular trawl through movie history, from its beginnings at Hollins, a women's college in Roanoke, Virginia and within 'Film as Narrative Art', a course taught by Richard Dillard, the dedicatee of the book, there.
Pictorial wrappers. Very good.
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[1971].
Promotional print for Albert Finney as Eddie Ginley during the period of his change of career in Stephen Frears' 'Gumshoe'; signed by Albert Finney.
Print measures 25.5 x 20.5cms. Fine.
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Cambridge: Cambridge University Press. First English edition, 1993.
The Cambridge Edition, edited by Matthew J. Bruccoli; 'A Western', surviving manuscript (131pp.), context, editorial principles and procedures, chronology, Edmund Wilson's tinkering for 'The Last Tycoon'; the full Matthew Bruccoli treatment, 350+pp.
Faint foxing to extremities. Very good in dustwrapper faded on the spine.
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New York: Granary Books and Hips Road. First American edition, 2001.
Shooting, background, context for a 42-minute movie in New York during 1962-1963; 'And Other Secret-Flix of Cinemaroc'.
Pictorial wrappers. Fine. 1,500 copies.
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London: Thames and Hudson. First English edition, 1985.
Pictorial history of the creation of the real and mythological suburb and its inhabitants; 226 reproductions, a map, and introduction by Kevin Brownlow.
Fine in dustwrapper.
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New York: Ballantine Books. First American trade edition, 1988.
'Photographers in Hollywood' – outfitting and promoting the most successful American army; organised by photographer, forty-three of them, including: Karl Struss, George Hurrell, Ruth Orkin, Sid Avery, Sanford Roth; short biographies of the photographers, c.200+ reproductions. Originally published in 1987 by the Los Angeles County Museum of Art as an exhibition catalogue.
Fine in dustwrapper.
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Berkeley, CA and Princeton, NJ: University of California Press. First American edition and Princeton University Press. First American paperback edition, 1987 1994.
Two volumes: 'French Cinema 1896-1914' and 'The First Wave, 1915-1929', the latter published first and, with it, 'the [realisation] I had accepted far too many assumptions about the first two decades of film history, most specifically about how the French cinema industry was organised and operated ...'; illustrated, indexed, a monument to French silent cinema.
'The Cine Goes to Town' fine in dustwrapper, 'French Cinema, The First Wave 1915-1929' is a hardcover, fine without dustwrapper and with paperback details on the copyright page. The two vols.
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New York: Award Books. First American edition, 1966.
'And now four relentless men abandoned all reason in their ruthless quest for possession of the fabled diadem'; the fifth of the director's seven novels; a paperback original.
Pictorial wrappers. A little creased on spine. Very good.
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London: New English Library. First English paperback edition, 1973.
'In the centre of London, squatters and hippies take over an empty mansion', at the address of the title; another novel from the moonlighting movie director.
Pictorial wrappers. Extremities darkened. Very good.
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London: Thames and Hudson. First English edition, 2013.
'A Visual History of Weimar Film 1918-1933': a pictorial trawl through 72 movies, the pantheon and surroundings; 'The Restless Republic: New Directions in Germany 1918-1933', long introduction by the author; portraits of actors of the period (20pp.); overall 443 reproductions, 335 in duotone promoting the idea that realism is not the best method of representing reality.
Barry Humphries' copy with his bookplate. Fine in dustwrapper.
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London: Lorrimer. First English edition, 1972.
The complete text of the director's original ten-hour screenplay, details of the released version, pieces by Joel W. Finler, Herman G. Weinberg, Jean Hersholt, William Daniels, and two by the director, including the polemical 'Dreams of Realism' ending 'I was going to metamorphose the 'movies' into an art – a composite of all arts. Fight for it! and die for it, if need be! ... Well, fight I did. ... And die ... I almost did, too!'; #26 in the publisher's long-running series of classics and modern movie scripts.
Fine in dustwrapper with US distributor's label on the rear panel.
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New York: Grove Press. First American edition, 1967.
Script plus 100+ frame enlargements for Alain Resnais' movie of ageing veterans of the Spanish Civil War who need the plotting, intrigue and struggle to keep their hopes alive.
Pictorial wrappers. Fine.
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London: Victor Gollancz. First English edition, 1958.
A Hollywood party, at least two of its guests on their way to Hell.
Owner signature and stamp. Foxing to prelims and extremities. Good in dustwrapper darkened around the perimeter.
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Oxford: Perpetua Press. First English edition, 2023.
'The diary of an extra' [28 March -15 April 1980]; the moonlighting printer's account of helping with Oxford in 1980 stand in for Harvard in the 1870s; edited by Colin Ridler, his son; together with a section 'Vivian Ridler: Movie Buff and Accomplished Amateur Filmmaker'; illustrated; 500 copies.
Pictorial wrappers. Fine.
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London: Secker and Warburg. First English edition, 1967.
A famous book-length talk about work by two directors, generations apart, and joined together by the author's passion for the subject's movies; vividly illustrated.
Extremities evenly tanned, corners bumped, good in dustwrapper creased at edges and chipped at the folds of the crown and base of the spine.
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London: Faber and Faber. Reprint, 1975.
Hitchcock's movies up to and including 'Frenzy', the various schools of criticism, and, ten years after Robin Wood, no question that he should be taken seriously.
Faint foxing to extremities, very good in fine dustwrapper.
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Cambridge, MA: Harvard University Press. First American edition, 1982.
The look in the victims' eyes, and the killers', in 'The Lodger', 'Murder!', 'The Thirty-Nine Steps', 'Shadow of a Doubt' and ' Psycho', 600 frame enlargements, or one way into the director's movies.
Very good in dustwrapper chipped at edges.
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Woodstock, NY: The Overlook Press. First American edition, 1984.
A memoir by the director's collaborator for the script of 'The Short Night'; together with the complete screenplay of that unproduced movie; illustrated.
Fine in dustwrapper.
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Berkeley, CA: Pacific Film Archive and Omni Zoetrope. First American edition, [1979].
Program to accompany the '...test screenings for the eventual national distribution of Hitler, which will be released initially in a series of event-performance showcases in large-capacity cultural auditoriums', or the American premiere at the Palace of Fine Arts, San Francisco. The final movie in the director's trilogy on Germany in the last 100 years, seven hours, nine minutes, and, I wonder, still out of reach of the streaming services; introduction, synopsis, interview with the director, illustrations, and the director's use of front screen projection; 22pp.
Pictorial wrappers, stapled. Fine.
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Manchester: Carcanet. First English edition, 1982.
The complete screenplay of Syberberg's final film of his 'German trilogy' (after 'Ludwig: Requiem for a Virgin King' and 'Karl May'); illustrated with scenes from the film; translated by Joachim Neugroschel; preface by Susan Sontag (8pp.).
Fine in dustwrapper with a short closed tear on the rear panel.
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London: Sphere. First English paperback edition, [1969].
'A story' on the front cover, the screenplay, without images, inside; plus the words of the College song and one page of epigraphs; 191pp.
Pictorial wrappers. Extremities evenly tanned. Very good.
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London: Calder and Boyars. First English edition, 1971.
A 'cine-novel', a what?, explanatory notes by the author - 4pp., page and shot numbers throughout, reproductions from the movie version; translated by A.M. Sheridan Smith, first published in France in 1963, simultaneously with the author's movie version.
Very good in dustwrapper nicked around edges.
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New Delhi: The Directorate of Film Festivals. First Indian editions, 1981.
Two volumes: From a visit by a Lumiere emissary to Mumbai in 1896 and off through an illustrated history of the national film industry to 1980.
Pictorial wrappers. Both fine. The two vols.
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Melbourne: National Gallery of Victoria. First Australian edition, 2007.
Exhibition catalogue. History, Hunterwali, the Bollywood Film Poster; two essays, illustrated in colour throughout, bibliography, catalogue of exhibition.
Pictorial wrappers. Fine.
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Mumbai: Film Heritage Foundation. First Indian edition, 2017.
Twenty-three essays and memoirs by India's 'Celluloid Man', titles include: 'A National Cinema Takes Root in a Colonial Regime', 'My Most Moving Cinema Moments', 'The Neglected Projectionist', 'Partition in Cinema', 'The Evolution of Film in India, Seen Through Posters'; 262pp., indexed.
Stiffened wrappers. Fine.
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New York: Continuum. First American edition, 2004.
Following the Italian vein of actors, directors, writers and technicians through American movie history: 'The Black Hand' (1906) to 'The Sopranos' (1999-); illustrated.
Fine in dustwrapper.
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Berkeley, CA: University of California Press. First American edition, 1979.
Japanese cinema via that country's aesthetics and culture by an American film theorist; revised and edited by Annette Michelson.
Fine in dustwrapper.
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Edinburgh: Edinburgh International Film Festival, 1984.
Program to accompany a season at the Edinburgh Film Festival. Pieces by Sato Tadao, Oshima Nagisa, Terayama Shuji and Obayashi Norihiko; notes and illustrations for forty movies; 64pp.
Pictorial wrappers. Fine.
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New York: Continuum. First American edition, 2005.
Narrative cinema through twentieth century Japan; chapters on genre, transgression, nationalism and empire, Shochiku Studios; filmography, bibliography, illustrations, indexed.
Fine in dustwrapper.
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Middletown, CT: Wesleyan University Press. First American edition, 2007.
The critic, festival director and movie director's first collection; thirty-five pieces, including: 'Sorcerer', Cannes, Leftist Hollywood, 'Magnolia', 'Beau Travail', the Coen Brothers and Manny Farber.
Fine in dustwrapper.
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Tempe, Arizona: Bilingual Press. First American edition, 1988.
First publication of the only novel by the blacklisted Hollywood screenwriter written during the early 1950s and concerned with a Mexican American about to be inducted into the United States Army; introduction by Santiago Daydi-Tolson.
Pictorial wrappers. Fine.
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New York: Viking. Reprint, 1992.
A dalmatian directs a movie, illustrated; from a concept by Marcel Proust, stolen by Ivan Kazlinsky from Truman Capote; vividly illustrated.
Fine in dustwrapper.
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New York: Abelard-Schuman. First American edition, 1958.
An adaptation of the Greek myth is planned with a combination of ingredients that will test even the well-oiled production machine; the sub-title – 'The Big Greek Story' – is priceless; dedicated to Terry, the author's wife.
Binding weak, good in dustwrapper.
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Paris: Obliques, 1978.
Special number of 'Obliques', edited by Roger Border. Five introductory pieces by both authors; illustrated screenplay of 'Roberte Interdite' based on Pierre Klossowski's 'Roberte ce soir' and 'Le revocation de l'edit de Nantes', directed by Pierre Zuca; other pieces about Klossowski, illustrated with his familiar eroticism; 112pp., French text.
Pictorial wrappers. Fine.
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Manchester: Manchester University Press. First English paperback edition, 2000.
Beginning during the Japanese colonial period followed by sections on adaptation of Ch'unhyangjon, 'Nationhood and the Cinematic Representation of History', 'Class and Cultural Identities'; filmography, bibliography, index, illustrations.
Pictorial wrappers. Fine.
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London: Picador. First English edition, 2000.
Michael Herr's account of the director's writer workout on 'Full Metal Jacket'.
Fine in dustwrapper.
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London: Weidenfeld and Niciolson. First English edition, 1963.
Daisy Clover, a child star in Hollywood during the 1930s, tells her story, beginning, 'Talking to yourself is something you're not supposed to do, especially in public places such as buses, sidewalks, hot-dog stands and church'.
Owner signature. Foxing to extremities, good in dustwrapper darkened on the spine.
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London: John Murray. First English edition, 1987.
German English cinematographer, 1926-2017, for: Lindsay Anderson, Michael Cacoyannis ...; illustrated.
Fine in dustwrapper.
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New York: Grove Press. First American edition, 1973.
Riding the Last Tango wave, pieces by Parker Tyler, Stuart Byron, Nat Hentoff, Norman Mailer, Fernando Arrabal, Alberto Moravia, Dotson Rader, John Simon, Judy Klemesrud, Dacia Mariana and the incomparable Iris Owens; illustrated; the 1970s equivalent of 'going viral'.
Pictorial wrappers. Owner signature and small ink annotation, very good.
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London: Aurum Press. First English edition, 1985.
From the 'Thirties' to 'Modern Times', organised by decade, 1925-1985; the lesser gods of the Commonwealth countries, including: Jane Asher, Stewart Granger, Charlotte Rampling, Nova Pilbeam, Laurence Harvey, Sarah Miles, Joan Greenwood and, inexplicably and unforgivably, no Kathleen Byron.
Fine in very good dustwrapper with a short closed tear at the bottom of the front panel.
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London: Faber and Faber. First English edition, 2005.
Nine essays: 'Star Wars', Philip K. Dick. John Cassavetes, movies, and his mother's declining health.
'I still go to the movies alone, all the time. In the absenting of self which results —so different from the quality of solitude at my writing desk— this seems to me as near as I come in my life to any reverent or worshipful or meditational practice. That’s not to say it isn’t also indigent, with a frisson of guilt, of stolen privilege, every time. I’m acutely conscious of this joyous guilt in the fact that when as a solitary moviegoer I take a break to go to the bathroom I can return to another part of the theater and watch from a different seat. I first discovered this thrill during my Star Wars summer, and it’s one which never diminishes', from “13, 1977, 21”.
Printed wrappers. Extremities foxed. Very good.
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London: Sidgwick and Jackson. First English edition, 1956.
On location in the Canary Islands for John Huston's movie version of 'Moby Dick'; prologue by the director; sub-titled 'A Fantasy' by the author.
Faint offsetting to prelims, else fine in dustwrapper.
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London: Mandarin Books. First English edition, 1964.
Beginning, 'London. Early Morning. / The city seen from the north. ...'; and sub-titled 'A treatment for a film'; 1/25 numbered copies signed by the author.
Printed wrappers. The original imprint is covered by a label for Mandarin Books, else all fine.
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London: Lorrimer Films Limited. First English edition, 1965.
Stills from Peter Whitehead's movie of the poetry reading at the Royal Albert Hall, 11 June 1965; together with texts of the poems read by Allen Ginsberg, Lawrence Ferlinghetti, Gregory Corso, Harry Fainlight, Adrian Mitchell, Michael Horovitz, Ernest Jandl, Alexander Trocchi, Christopher Logue and Andrei Voznesensky.
Pictorial wrappers. Fine
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New York: Simon and Schuster. First American edition, 1993.
Another shot at the director and his credo of 'a laugh is not to be sneezed at' or 'sprezzatura' in the American film business; illustrated.
Fine in dustwrapper.
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1946-1956.
Promotional print of Dorothy Malone, somewhere between stealing 'The Big Sleep' (1946) and doing the same in 'Written on the Wind' (1956); inscribed by Dorothy Malone.
Print measures 25.5 x 20.5cms. Fine
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Columbus, Ohio: Wexner Center for the Arts. First American edition, 1995.
Exhibition catalogue. Program to accompany the director's installation to celebrate the centenary of cinema; contains 'Another Likeness' by Bill Horrigan, 'The Rest is Silent' by Chris Marker, and seventeen images from the installation.
Pictorial wrappers. Fine.
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London: Century. First English edition, 1991.
George Elliott, Hollywood agent, as protagonist; the critic and scriptwriter's first novel.
Remainder dot bottom edge, else fine in dustwrapper.
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London: BFI. First English paperback edition, 2003.
Combination biography monograph; six sections: beginning with the life and career; then 'stylistic exercises' to the 'Delon trilogy'; and appendixes of the director's movies at the French box office, his movies as an actor; and his pantheon of sixty-four pre-war American directors; 278pp., illustrated, indexed.
Pictorial wrappers. Fine.
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New York: Oxford University Press. First American edition, 1974.
Twelve previously published articles reworked into four sections and ten chapters: 'Phenomenological Approaches to Film', 'Problems of Film Semiotics', 'Syntagmatic Analysis of the Image Track', and 'The "Modern" Cinema: Some Theoretical Problems'; translated by Michael Taylor; structural linguistics slips into the cinema to tackle 'a film is difficult to explain because it is easy to understand'.
Review copy with local publisher's slip laid in; small annotation as to being read on front free endpaper, else very good in dustwrapper with a bump on the front panel.
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San Francisco: Chronicle Books. First American edition, 2000.
Complete set of forty postcards, all featuring posters from Mexican cinema, 1930-1950; assembled from a long trawl through Agracanchez Film Archive; all colour, all measuring 15 x 11cms.
Pictorial wrappers. Fine in the original publisher's pictorial box. The set
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London: Chapman and Hall. Reprint, 1935.
An English producer, writer and journalist carrying out fieldwork in Hollywood; 'The Hollywood mind is frankly exposed in naked relief, with a freedom that is quite new in this particular field' gushes the dustwrapper without specifying the nature of the 'field'; illustrated.
A slight lean, extremities darkened, good in dustwrapper.
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London: Serpent's Tail. First English edition, 1990.
Londoncentric and also a wonderful anthology of individuals' experiences at, or is it in, the cinema; movies are mentioned, the editors supply footnotes but subjectivity and memory are at the centre.
Pictorial wrappers. Review copy with publisher's embargo slip laid in. Very good.
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London: BFI and Palgrave Macmillan. First English edition, 2009.
Thirty-two contributors, including: Abbas Kiarostami on '8½', Ken Loach on 'The Firemen's Ball', Mira Nair on 'La Jetee', Sally Potter on 'Monsieur Hulot's Holiday', and Danny Boyle on 'Apocalypse Now'; illustrated.
Scattered marks to top edge, else fine in dustwrapper.
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Bologna: Cineteca Bologna, [2014].
Original Italian poster for the restored version of the director's eighth movie, a ferocious coming of age story which, in the poster design, is pushed towards a horror movie while still containing 'All of life in one night'.
Poster measures 67 x 32cms. Rolled. Fine.
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New York: Linden Press. First American edition, 1984.
A nose behind 'Women I've Undressed' in the autobiography title stakes: from his birth in Romania in 1900, move to Paris in 1920, New York in 1927, before heading west to Hollywood and ...; illustrated.
Edgewear, extremities darkened. Very good in dustwrapper.
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London: Palgrave Macmillan and BFI. First English edition, 2010.
One of the oldest couples in movie history – 'The night is tonight, tomorrow night or any night. The city is London'; one of the most important film noir movies ever made argues the author, and one of the BFI's monographs of Film Classics.
Pictorial wrappers. Fine.
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Princeton, NJ: Princeton University Press. First American paperback edition, 1993.
Elvira Notari (1875-1946), early Italian filmmaker, her documentaries on street life in Naples and Italian culture at the beginning of the twentieth century; illustrated.
Pictorial wrappers. Fine.
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[New York]: New Line Cinema, 1981.
John Waters picks up the baton from William Castle's 'Scent of Mystery' 'Smell-O-Vision' (1960) and comes up with 'Odorama', the card here, distributed to the audience, numbered 1-10 on the reverse, as the number appeared on the screen, viewers scratched and smelt the designated number to add to their experience of the movie specifically Francine Fishpaw's acute sense of smell, a not insignificant plot point.
Card measures 12.5 x 28cms. Printed both sides, fine and unscratched.
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London: Lorrimer. First English paperback edition, 1971.
Screenplay, frame enlargements, cutting continuity (45pp.); 'Why That of Oedipus is a Story' by Pier Paolo Pasolini; all translated by John Mathews.
Pictorial wrappers. A little darkened around spine, else fine.
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Gottingen: Steidl. Second edition, 2007.
Illustrated screenplay, if that's the word, set in Manhattan, Lower East Side. Shot between 3:45 and 4:45 pm on 26 July, 1990; one take, twenty-seven actors.
Fine in dustwrapper.
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New York: Columbia University Press. First American paperback edition, 1995.
The director's twenty-one influential features examined, a movie career between Germany, France, and the United States, a diverse, faithful group of followers, and a deservedly enduring reputation; illustrated, indexed.
Pictorial wrappers. Fine.
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New York: Bobbs-Merrill. First American edition, 1971.
'The Rise and Fall of the Film Director' by Andrew Sarris, followed by interviews with 'Natives' - George Cukor, Rouben Mamoulian, Otto Preminger, Preston Sturges, and 'Fugitives' - John Huston, Joseph Losey and Nicholas Ray, Abraham Polonsky, Orson Welles; illustrated.
Fine in dustwrapper.
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London: Allen and Unwin. First English edition, 2016.
A clear leader in the autobiographical title stakes: from Kiama to Hollywood, designing costumes for goddesses, actors as well, three times an Oscar winner; illustrated; foreword by Catherine Martin. The memoir only came to light amidst the publicity surrounding the release of Gillian Armstrong's film 'Women He's Undressed' in 2015.
Barry Humphries' copy with his bookplate and with a gift inscription to him . Fine in dustwrapper.
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Boston: MIT Press. First American edition, 2000.
Through science to surrealism with the seahorse as guide: photograms, photography, texts by Painleve; bibliography and filmography; inscribed by Andy Masaki Bellows and Marina McDougall.
Fine in dustwrapper
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Bologna: Cineteca di Bologna. First Italian edition, 2022.
Exhibition catalogue from Pasolini's centenary year. An annotated journey through the director's movies and artworks finding allusions to Caravaggio, Bronzino, Masaccio, Morandi, Romanino etc; ten essays, illustrated throughout in colour and black and white; Italian text, 291pp.
Pictorial wrappers. Fine.
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New York: Praeger. First American edition, 1970.
'The Left-Handed Gun' to shooting 'Little Big Man'; illustrated; the glory years before moving to theatre and television.
Fine in dustwrapper.
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London: London: Eyre and Spottiswoode. First English edition, 1963.
'Our neighbourhood theatre in Gentilly has permanent lettering on the front of the marquee reading: "Where Happiness Costs So Little". The fact is I am quite happy in a movie, even a bad movie. Other people, so I have read, treasure memorable moments in their lives: the time one climbed the Parthenon at sunrise ... What I remember is the time John Wayne killed three men with a carbine as he was falling to the dusty street in Stagecoach, and the time the kitten found Orson Welles in the doorway in The Third Man', Binx Bolling, the novel's narrator; the author's first book.
Owner signature. Foxing to prelims and extremities, canted, just good in fair dustwrapper creased and darkened around perimeter.
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[Moscow]: Gruziafilm Studio. First edition, 1969.
Promotional brochure for Shengelaya's 'emotional portrait' of Niko Pirosmanishvili, the Georgian artist; background, summary and credits in English, French and Spanish.
Single sheet measuring 32x50cms. printed in colour both sides, folded once. Fine.
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Paris: Cahiers du Cinema. First French edition, 2002.
A comprehensive illustrated dossier on this singular movie: as a work in progress for Tati, the shooting, influences: Breughel to Saul Steinberg, and a walkthrough of the movie; 190pp., colour illustrations throughout. French text.
Pictorial wrappers. Fine.
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London: Lorrimer. First English paperback edition, 1975.
Illustrated screenplays of 'Knife in the Water' (1961), 'Repulsion' (1965), and 'Cul-de-Sac' (1966); getting the director's world and obsessions in place: 'One doesn't choose the time one gets into trouble' (Dickie to George and Teresa in 'Cul-de-Sac'); introduction by Boleslaw Sulik.
Pictorial wrappers. Very good.
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New York: Lippincott and Crowell. First American edition, 1980.
Advance reading copy of one of three novels by the blacklisted Hollywood director; begins in 1920s Bronx, becomes a hostage drama in Israel.
Printed wrappers. Fine.
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London: Hodder and Stoughton. First English edition, 1956.
The story of the first naval battle of the Second World War, fought in the South Atlantic in December 1939; novelisation by the director of the movie version; is this a first?
Spots of foxing to title page and prelims, about very good in good dustwrapper.
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London: Waterstone and Company. First English edition, 1985.
Powallan Pressburger* The story of the Archers, aka the movies directed by Michael Powell and Emeric Pressburger; illustrated, foreword by Martin Scorsese; critical reputations restored, movies inspired by them acknowledged. *'I misheard their names and (not inappropriately) translated them into one entity.'A.L. Kennedy
Small coloured clipping re 'Oh Roslainda!' tipped to p.89, not obscuring the text, else fine in dustwrapper with a scratch on the rear panel.
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London: B.T. Batsford. First English edition, 1996.
Through his complete career, after his revival; illustrated; appendixes of television work and movies of Emeric Pressburger; foreword by Deborah Kerr.
Pictorial wrappers. Very good.
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Oxford: Oxford University Press. First English paperback editions, 1976-1977.
Two volumes. Collects 100 contemporary published pieces; contributors include: Ida Lupino, Alice-Guy Blache, Lois Weber, William K. Howard, Paul Fejos, Orson Welles, Roger Corman and Michael Ritchie; excellent primary source material, illustrated.
Pictorial wrappers. Spines sunned, extremities and prelims darkened. Both very good. The two vols.
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London: Faber and Faber. Second English edition, 1955.
Dedicated to 'the Future of the Director's Cinema' and containing chapters on history, categories of films, techniques of analysis, synthesis etc; illustrated; first published in 1935. Keith Gow, Waterside Workers' Federation Film Unit, copy with his signatures and 'Kings Cross, 1957' on both front and rear endpapers - a poignant Sydney association.
Original grey cloth. Covers marked, prelims darkened. Poor. No dustwrapper.
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[1975].
Promotional print for Dick Richards' adaptation of 'Farewell, My Lovely'; Charlotte Rampling as Helen Grayle, aka Velma, of the 'It was a cool day and very clear. You could see a long way - but not as far as Velma had gone' fame. Inscribed by Charlotte Rampling.
Print measures 25.5 x 20cms. Fine.
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London: Faber and Faber. First English edition, 1993.
The life of the American movie director, championed by the French New Wave directors during the 1950s and more recently by Victor Erice, Curtis Hanson and Martin Scorsese; c.600pp., illustrated, indexed, and translated by Tom Milne.
Fine in dustwrapper.
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Berkeley, CA: University of California Press. First American paperback edition, 1995.
Thirty-one pieces; collects the director's writings, lectures and interviews on movies; introduced and edited by Susan Ray, biographical outline by Bernard Eisenschitz; first published in 1993.
Fine in dustwrapper.
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New York: Grove Press and John Calder. First American paperback edition, 1960.
Chapters on origins, types of star, Charles Chaplin, James Dean, merchandise, 'The Star and the Actor', 'The Star and Us'; illustrated, first published in France in 1957 and translated here by Richard Howard; one of the publisher's Evergreen Profile Series, along with books of Shakespeare, Haydn, Schumann, Ravel, Chopin, Wagner, Goether, and Jazz: heady company for the subject.
Pictorial wrappers. Joel Greenberg's copy with his signature. Very good.
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London: BFI. Second English paperback edition, 1998.
First published in 1979, this edition containing 'Reconceptualising Stardom' by Paul McDonald and a supplementary bibliography (13pp.).
Pictorial wrappers. Corners scuffed. Very good.
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London: Granta Books. First English edition, 2000.
Robert Polito on Barbara Payton - 'I got news for you baby – nobody’s civilized. You peel off a little skin and you got raw flesh', Patti Smith on Jeanne Moreau, Geoffrey O'Brien on Dana Andrews, Greil Marcus on J.T.Walsh; twenty others: Elmer Fudd, Warner Bros.' Fat Men, Margaret Dumont, Warren Oates on the cover: the toughest wild bunch.
And Stuart Klawans and his date's 'encounter' with Sarge, from The Bandwagon', 'With a nod toward my fiancée, Sarge told me, “You’re with a beautiful woman. You got good taste.” Then the one true critic on the corner grinned at her and said, “You got good taste, too. But his is better.'
Pictorial wrappers. Fine.
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New York: Praeger. First American edition, 1970.
Short biography, from 'La nave Bianca' to 'Socrate'; illustrated, filmography; translated by Elisabeth Cameron.
Fine in dustwrapper.
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Calcutta: Seagull Books. First Indian edition, 1984.
The potency of place and fate in India: the original story by Premendra Mitra; the screenplay by Mrinal Sen, illustrated; introduction by Samik Bandyopadhyay who translated the screenplay.
Pictorial wrappers. Fine.
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Paris: Editions dis Voir. First French edition, 1995.
'Miscellanies', volume 1 of the Chilean director's poetics; seven sections, including: 'For a Shamanic Cinema', 'The Photographic Unconscious', 'Images of Nowhere' and ' Images of Images'; translated by Brian Holmes.
Pictorial wrappers. Fine.
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Bloomington, IN and London: Indiana University Press and British Film Institute. First English paperback edition, 1995.
Beginning at the end of 'Goodfellas' and off through the career of Martin Scorsese; inscribed by the author, 'for _______ much love, Lesley (look out for the gastronomic allusions)'.
Pictorial wrappers. Very good.
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New York: Cinema House / R.M. Franchi, 1962.
Six issues: Vol.3, Nos.1-5 (issues 42-46), February 1962-; and Series 2, No. 10 (issue 36), June 1961. Twenty to twenty-four pages per issue containing best lists, movie and television screenings in New York, in the grip of contemporary French cinema, notably Godard, Truffaut and Resnais in these issues, as well as the American directors revived by the auteur theory; illustrated.
Pictorial wrappers, stapled. Some pencil annotations, a couple of owners' stamps, general wear. Overall very good. The six issues
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New York: Library of America. First American edition, 2006.
From the silents onwards, only American critics, not only American movies; contributors include Carl Sandburg, H.D., Cecilia Ager, Otis Ferguson, Manny Farber, Jonas Mekas, Renata Adler, Molly Haskell, Kael and Sarris, J.Hoberman, Geoffrey O'Brien, and Stuart Klawans on 'Gladiator' and John Ashbery on 'The Seventh Victim', recommended to him by Edward Gorey; 700+pp.
Fine in dustwrapper.
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Woodstock, NY: The Overlook Press. First American edition, 1998.
Mostly American movies with examples of posters from America and Europe, 160 colour reproductions.
Fine in dustwrapper.
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New York: Carol Publishing Group. Second American edition, 1993.
Illustrated history, divided into the author's familiar categories - 'The Kiss', 'The Bosom and the Bottom', 'The Little Loves', 'Group Sex and the Orgy' etc - and first pubished as 'A Pictorial History of Sex in Films' in 1974.
Pictorial wrappers. Sunned around spine. Very good.
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New York: Pantheon. First American edition, 1985.
The complete spoken text of the movie, Lanzmann's attempt 'to make an incarnation of the truth' about the Holocaust. Preface by Simone de Beauvoir.
Fine in dustwrapper.
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Greenwich, CT: New York Graphic Society. Revised edition, 1973.
Monumental illustrated history, from an American perspective; George Melies and Edwin S. Porter share chapter 2, four chapters entitled 'Foreign Invasion' are spread through the text, and net movies from France, Britain, Scandinavia, Austria, Germany, Italy, Russia, Ernst Lubitsch and Carl-Th. Dreyer; or one part of the history of movies is locked into place; illustrated, 500+pp.
Fine in dustwrapper.
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London: Tantivity Press. Reprint, 1979.
From the publisher's International Film Guide series, first published in 1972; has John Wayne in Andrew V. McLaglen's 'McLintock!' ever featured again on the cover of a book about movies during the 1960s? Signed by the author.
Pictorial wrappers. Fine.
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Koln: Taschen. First edition, 2001.
'Some Like It Hot': first and final drafts surrounded by relevant frame enlargements; history of the production; and 'scrapbook' of the contributors, promotion and release: an exhaustive, illustrated archive - 843 colour and b&w reproductions - combined with interviews by Dan Aulier, reproductions of photographs and printed ephemera, designed to isolate the elements that have made audiences laugh for sixty years.
Original printed boards. Fine as issued without dustwrapper and with the Billy Wilder bookmark and facsimile of Marilyn Monroe's prompt book laid in.
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New York: World Publishing Company. First American edition, 1970.
Sid Krassman, Boris Adrian, making 'The Faces of Love', Arabella, and 'Because of the delay in completing the Casbah set, and the immediate availability of Arabella, the shooting schedule was revised so that the lesbian sequence ...' gives an idea of the tone; dedicated to Stanley K[ubrick] who reputedly considered a movie version.
Offsetting to front free endpaper, very good in dustwrapper sunned on the spine and with a small nick on the front panel.
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Sydney: Invincible Press. First Australian edition, [1946].
A Hollywood murder mystery featuring Joe Medford 'ace reporter and great lover'; movie version in 1947 featuring George Brent as Joe.
Printed wrappers, stapled. Prelims marked, extremities evenly tanned. Good.
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London: Lorrimer. First English paperback edition, 1975.
The screenplay, illustrated; introduction by Richard Seaver; interview with Alain Resnais; the last months of Alexandre Stavisky, 1933-1934, and France during the 'Stavisky affair'.
Pictorial wrappers. Fine.
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New York: Castle Books. Reprint, 1970.
From 'Murder Man' to 'Bandolero', illustrated, including a telltale promotional shot from 'Vertigo'; foreword by Henry Fonda.
Covers rubbed. Very good in dustwrapper.
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London: Andre Deutsch. First English edition, 1986.
The author's Hollywood novel, if on location in Mexico qualifies.
Fine in dustwrapper.
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North Sydney, NSW: William Heinemann. First Australian edition, 2008.
A passion for the movies and for changing censorship laws; inscribed by the author to Evan Williams, his longtime colleague at 'The Australian', in the year of publication.
Pictorial wrappers. Foxing to extremities. Very good.
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London: BFI. First English edition, 1978.
Surrealist writing on movies, contributors include: Albert Valentin, Robert Desnos, Philippe Souplault, Jacques Brunius, Ado Kyrou, Joseph Cornell, Nelly Kaplan, as well as Breton, Bunuel and Aragon; an appendix of movies made by surrealists.
Pictorial wrappers. Very good.
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New York: New American Library. First American edition, 1971.
The screenplay of the Czech director's first American movie, illustrated; 'Getting the Great Ten Percent': an interview with Miloš Forman; 'How I Came to America to Make a Movie and Wound Up Owing Paramount $140,000' by, no surprises there, Miloš Forman; and screenplay scene settings written for the book by Miloš Forman and Nancy Hardin.
Pictorial wrappers. Very good.
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London: Secker and Warburg. First English edition, 1975.
The first edition, of six by 2014, of the dictionary. 'Cinema' rather than the later 'Film' in the title and the staking out of positions - Geraldine Chaplin greater than her father, all of Howard Hawks' off to the desert island instead of ... and anglo centric. And,
'Yes, that might be more hotly contested than the claim that Roger is the greatest player in the history of tennis, but it is less contentious than the one I’d make on [David] Thomson’s behalf: that his Dictionary is the great literary achievement of our time. From the start it was a highly eccentric reference book. "Over the years, the making of the book has brought me so much pleasure," he writes. "In attempting to see shape in the history of motion pictures there is a steady battle between scholarship and partiality, enough to suggest that learning is often more warped than it realizes while daft enthusiasms do lead to quantities of obscure knowledge." That’s from the entry on Shirley MacLaine in the first edition.' Geoff Dyer
Good in dustwrapper chipped around edges.
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London: Andre Deutsch. Third English edition, 1994.
Geoff Dyer winds up and serves, 'Over time, the "Biographical Dictionary" has become an autobiography in the form of a reference book … Each edition is updated but the single most important addition was to the third, in 1994, when he included an entry about a friend whose name I won’t reveal because I want you to come across it, not to be directed to it. Thomson begins by writing about his life in the 1950s, how he met his friend on the steps of the National Film Theatre in London. He lists the fourteen films he saw in one week in 1961, how he discussed movies with his new friend, and, as a result of these talks, began to emerge slowly from a life of stammering. That increasing eloquence and confidence gradually began to express itself in the form of the book in which, several editions later, we read about its gestation. And then, in the last paragraph, he writes of how his friend became ill and died. "He was the best friend I’ll ever have, and in a way I feel the movies are over now that he’s gone." I know of no more moving moment in literature. And it takes place in a reference book.'
Spots of foxing to extremities, else very good in dustwrapper.
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New York: Museum of Modern Art. First American edition, 1991.
Exhibition catalogue. Essays by Laurence Kardish, Roger Greenspan, Annette Michelson, Donald Richie, William K.Everson; illustrated; filmography: one of the oldest, certainly the most enduring couples in movies; 48pp.
Pictorial wrappers. Fine.
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London: Lorrimer. First English paperback edition, 1971.
The French script published in 'l'Avant-Scene du Cinema', translated from Bunuel's original, supplemented by a viewing of the French version of the film; or the director back in Spain, taking Catherine Deneuve with him; introduction by J.Francisco Aranda, the director's biographer'; translated by Nicholas Fry; illustrated throughout with frame enlargements.
Pictorial wrappers. Very good.
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London: Allen Lane. First English edition, 1980.
Building the formidable army; chapters on the photographers: Ruth Harriet Louise, Ernest Bachrach, Joseph Von Sternberg and Eugene Robert Richee, Don English and William Walling Jr. all featuring Marlene Dietrich, George Hurrell, Clarence Sinclair Bull, Laszlo Willinger, together with some one hundred and fifty reproductions of their work.
Fine in dustwrapper.
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London: Conran Octopus. Reprint, 1988.
Tinkering with images of female sexuality and beauty, from Theda Bara to Greta Scacchi, across America, the United Kingdom and Europe, c.150 reproductions and short biographies; from the John Kobal collection.
Very good in dustwrapper.
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New York: The Grolier Club. First American edition, 2011.
Exhibition catalogue. Thirty-eight full page reproductions - Ramon Novarro, Greta Garbo, Elizabeth Taylor - Paramount photographers, independent photographers; essays, catalogue of the exhibition; the American army who conquered the world.
Pictorial wrappers. Errata slip laid in. Fine. 600 copies.
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New York: Thomas Yoseloff. First American edition, 1960.
Collects eighteen of the author's essays, fourteen published between 1950 and 1960, first publication of the remaining four; grouped into three categories: 'The Art: more or less fine', 'The Dream: more or less mystical' and 'The Cult: more or less refined'; illustrated; film criticism in English before the auteur theory.
Fine in very good dustwrapper chipped at the crown and base of the spine.
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London: Ward Lock. First English edition, 1955.
Bobo, a White Rabbit of sorts, introduces Caroline to the magic of movies.
Spots of foxing to top edge, very good in dustwrapper.
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London: Secker and Warburg. First English edition, 1972.
The life of Jean Bonaventure de Vigo, his short movie career, and singular creations, including 'L'Atalante'; first published in French in 1957. 'The ranks of the great film directors are short on Keatses and Shelleys, young artists cut off in their prime, leaving behind a handful of great works that suggest what might have been. But one who qualifies is Jean Vigo, who died of tuberculosis at age twenty-nine in 1934' – The New York Times film critic Andrew Johnston.
Very good in dustwrapper.
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[Minneapolis]: U Film Society University of Minnesota, 1964.
Published to coincide with a visit from Von Sternberg (and Pauline Kael) as part of Union's Creative Arts Week. Reprints pieces by Herman Weinberg, Andrew Sarris, Curtis Harrington; filmography, interview.
Pictorial wrappers, stapled. Some pencil annotations, else fine.
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New York: Universal Publishing. Second American edition, 1952.
A novel by the director for a planned movie, the images give an idea of what the reader is in for, but, in the first paragraph, before the plot gets underway, the author makes the claim that God is Hungarian and that is the language spoken in Heaven; first published in 1935.
Pictorial wrappers. Binding glue cracking, spine creased, else very good.
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London: Faber and Faber. First English edition, 1989.
The author's memoir of the progress of an 'incredibly naive young man' through World War Two, Poland and its postwar history and cinema, illustrated; first published in French as 'Un Cinéma Nommé Désir'; laid in is a card signed by the author in Warsaw 1996.
Fine in dustwrapper with light wear along edges.
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Ann Arbor, MI: UMI Research Press. First American edition, 1986.
Through the artist / director's career: commercial artist, Pop Art, movies, entrepreneur, 600+pp., forty-nine black and white photographs and reproductions, texts of thirty-seven interviews with the artist and his contemporaries; Studies in the Fine Arts: the Avant-Garde, #54
Fine in dustwrapper.
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London: Virago. First English edition, 2006.
'I’ve been to a cinema, she answered quickly.
He nodded, as if sagely. A cinema, yes. Such curious places, I always think. Such instructive places … Next time you go to a cinema, Miss Langrish, you ought to just try something. Just turn your head and look over your shoulder. What will you find? So many faces, all lit by the restless, flickering light of impermanent things. Eyes fixed, and wide, with awe, with terror or with lust. Just so, you see, is the unevolved spirit held in thrall by material sense; by fictions and by dreams …'
Four Londoners during World War Two, more than enough ingredients for a plot by this author; signed by Sarah Waters.
Fine in very good dustwrapper rubbed at folds.
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Boston: Little Brown. First American edition, 1975.
Hollywood 1928, a version of Vienna of 1914: the surviving remnants of one of the director's monumental movies; illustrated; compiled and annotated by Herman G.Weinberg.
Fine in very good dustwrapper chipped along edges.
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New York: Anthology Film Archives. First American editions, 1982.
Two volumes. Manhattan memoirs of the movie historian, teacher and, in an exclusive group, pioneer of the use of sub-titles for 'continental' movies; illustrated.
Both vols. fine in dustwrapper. The two vols.
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New York: Three Rivers Press. First American edition, 2010.
The author's first full-length graphic memoir of a move from the Bay Area to the Big Apple in the early 2000s.
Pictorial wrappers. Fine.
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New York: Alfred A. Knopf. First American edition, 1998.
A series of long chats between director and acolyte about the former; brilliantly designed and illustrated; the well polished anecdotes and quite a few fresh ones,
'We were previewing 'Ninotchka', and Lubitsch took the writers along too, in Long Beach. And they are outside in the lobby there, a stack of cards, with the audience invited to put down their thoughts. So the picture starts playing, and it plays very well. Now Lubitsch takes the cards, a heap of the cards, doesn’t let anybody else touch them. We get into the big MGM limousine. We turn the light up. Now, so he takes the preview cards and he starts reading. “Very good” … “brilliant”….” Twenty cards. But when he comes to the twenty-first card, he starts laughing as hard as I ever saw him laugh, and we say, “What is it?”. He keeps the cards to himself; he does not let anybody even look. Then, finally, he calms down a little and starts reading. And what he read was? I have the card? “Funniest picture I ever saw. So funny that I peed in my girlfriend’s hand.'
Fine in dustwrapper.
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Hamburg: Art&Book, [1987].
A complete set of the fifteen postcards issued to promote 'Wings of Desire'; a mix of black and white, sepia and one colour; plus two colour in a larger format.
Postcards measure 10.5 x 15cms., the larger two 12 x17cms; plus ten duplicates. All fine. The seventeen postcards
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London: Gordon Fraser. First English edition, 1976.
Eleven essays, some pillars from his pantheon - 'Sansho Dayu', 'Letter from an Unknown Woman', 'Touch of Evil', 'I Walked With a Zombie' - as well as 'Hawks De-Wollenized', 'Images of Childhood', 'Big Game - Confessions of an Unreconstructed Humanist' and 'In Defence of Art - on Current Tendencies in Film Criticism'; bibliography.
A little edgewear, scattered foxing to extremities, very good in dustwrapper.
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