Tales from the Front lines of Indie Film an other assorted tips for the beginning moviemaker has 19 articles, cautionary tales, and Making Of chronicles from award winning filmmaker Peter John Ross, director of "Horrors of War" and several Sonnyboo Productions. A perfect book for the aspiring Camcorder Kubricks and Backyard Spielbergs just starting out.

First Published in 2012. Routledge is an imprint of Taylor & Francis, an informa company.

Discussing a variety of independent and experimental Italian films, this book gives voice to a critcically neglected form of Italian cinema. By examining the work of directors such as Marinella Pirelli, Mirko Locatelli and Cesrae Zavattini, the book defines, inspects and studies the cinematic panorama of Italy through a new lens. It thereby explores the character of independent films and their related practices within the Italian historical, cultural and cinematic landscape.

Conventional filmmaking is slow and expensive and requires permission. You are always looking for money, appealing to investors, appeasing funding bodies, running crowdfunding campaigns. You just want to make films but it seems like an endless waiting game. We have been there. Pitches that go nowhere. Years in development hell. Money poured into chasing money that never comes. So we got tired of waiting and asking for permission. We slashed our production costs, focused on micro-budget filmmaking, and gave ourselves the greenlight to make the films we want in a matter of months from concept to wrap. Imagine the films you can make if you sped up the entire process and got onto set every few months instead of every few years all on a micro-budget? Imagine how making more films will improve your career? Instead of betting on a single film winning a major festival to put you on the map, take control of your filmmaking future and make more films, faster. Use our micro-budget techniques to build your body of work and become a full-time filmmaker.

“Essential for the aspiring filmmaker,” this is an inspiring, tell-all look at the independent film business from one of the industry’s most passionate supporters (Todd Solondz, director of Welcome to the Dollhouse) Hope for Film captures the rebellious punk spirit of the indie film boom in 1990s New York City and its collapse two decades later to its technology-fueled regeneration and continuing streaming-based evolution. Ted Hope, whose films have garnered 12 Oscar nominations, draws from his own personal experiences working on the early films of Ang Lee, Eddie Burns, Alan Ball, Todd Field, Hal Hartley, Michel Gondry, Nicole Holofcener, and Todd Solondz, as well as his tenures at the San Francisco Film Society, Fandor, and Amazon Studios, taking readers through the decision-making process that brought him the occasional failure as well as much success. Whether navigating negotiations with studio executives over final cuts or clashing with high-powered CAA agents over their clients, Hope offers behind-the-scenes stories from the wild and often heated world of “specialized” cinema--where art and commerce collide. As mediator between these two opposing interests, Hope offers his unique perspective on how to make movies while keeping your integrity intact and how to create a sustainable business enterprise out of that art while staying true to yourself. Against a backdrop of seismic changes in the independent film industry, from corporate co-option to the rise of social media and the streaming giants, Hope for Film provides not only an entertaining and intimate ride through the business of arthouse movies over the last decades, but also hope for its future. “There is nobody in the independent film world quite like Ted Hope. His wisdom and heart shine through every page.” —Ang Lee, Academy Award winning director of Brokeback Mountain

The work examines the evolution of the thriller from the heyday of the Hollywood mogul era in the 1930s when it was primarily bottom-of-the-bill fodder, through its maturity in the World War II years and noir-breeding 1950s, its commercial and critical ascendancy in the 1960s and 1970s, and finally its subsequent box office dominance in the age of the blockbuster.

Public television's original mandate required it to address issues of controversy and facilitate the inclusion of voices and perspectives from outside the established consensus. Through detailed chronology, the author of this text traces how far this obligation has been met.