The noted cinematographer discusses his technical and aesthetic approaches to cinematography in forty of his films and profiles some of the major stars and directors with whom he has worked

Emil Sher's acclaimed YA debut is now in paperback! T-- is used to getting grief. Grief from his mother, who worries about him constantly; grief from Mr. Lam, who runs the corner store and suspects every kid of stealing; grief from the trio of bullies he calls Joined at the Hip, whose cruelty has left T-- so battered he fears even his whole name could be used against him. But T-- has his own strength too: his camera, which he uses to capture the unique way he sees the world. His photos connect him to Ms. Karamath, the kind librarian at school; his friend Sean, whose passion for mysteries is matched only by his love for his dog, Watson; and most of all to Lucy, a homeless woman who shares his admiration for the photographer Diane Arbus. When Lucy is attacked by Joined at the Hip, T-- captures the assault on film. But those images lead him into even deeper trouble with the bullies, who threaten to hurt Sean if T-- tells. What's the right thing to do? Do pictures ever tell the whole truth? And what if the truth isn't always the right answer?

They were calling it the Twentieth Century -- "She is a little animal, surely" -- "He's my son, and I'll break his neck any way I want to" -- "The locomotive of juveniles" -- A little hell-raising Huck Finn -- The boy who couldn't be damaged -- "Make me laugh, Keaton" -- Speed mania in the kingdom of shadows -- Pancakes at Childs -- Comique -- Roscoe -- Brooms -- Mabel at the wheel -- Famous players in famous plays -- Home, made -- Rice, shoes, and real estate -- The shadow stage -- Battle-scarred risibilities -- One for you, one for me -- The "darkie shuffle" -- The collapsing façade -- Grief slipped in -- The road through the mountain -- Not a drinker, a drunk -- Old times -- The coming thing in entertainment -- Coda: Eleanor.

Dziga Vertov was one of the greatest innovators of Soviet cinema. The radical complexity of his work—in both sound and silent forms—has given it a central place within contemporary theoretical inquiry. Vertov's writings, collected here, range from calculated manifestos setting forth his heroic vision of film's potential to dark ruminations on the inactivity forced upon him by the bureaucratization of the Soviet state.

In a historical moment when cinema is definitively abandoning analogue production and reception modalities, the cinematographic work of Paolo Gioli occupies an important and meaningful place in the academic and artistic debate related to the present and future position of cinema and media art in the digital era. For this reason, the Film Forum Festival decided to organize a one-day seminar in Gorizia on 17th March 2013 in order to analyze and discuss the artistic production of this Italian artist. This book records and expands topics and reflections developed by international scholars and curators during that event. It also includes an original text by Paolo Gioli about his cinema and his artistic production.