This guide to directing films includes information on project development, screenplay analysis, choosing and working with a production team, auditioning and casting, script preparation, using the language of acting, and much more.

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The predominant positive view among philosophers and scientists alike is that consciousness is something realized in brain activity. This view, however, largely fails to capture what consciousness is like according to how it shows itself to conscious beings. What this work proposes instead is that consciousness is a phenomenon that exists in and throughout the body. Apart from whether or not it involves intentionality and apart from whether or not it involves awareness of the self, consciousness is self-intimating, self-revealing, self-disclosing. Self-disclosure is the definitive phenomenological character of consciousness in all its forms. Taking this stance as a point of departure, the book presents a specific account of what bodily field phenomenon consciousness is. In this way, the current stalemate in philosophy over the question of the physical reality of consciousness is broken. Series A

"The cinema isn't a slice of life, it's a slice of cake"--Alfred Hitchcock. "If you make a popular movie, you start to think where have I failed?"--Woody Allen. "A film is the world in an hour and a half"--Jean-Luc Godard. "I think you have to be slightly psychopathic to make movies"--David Cronenberg. This compendium contains more than 3,400 quotations from filmmakers and critics discussing their craft. About 1,850 film people are included--Bunuel, Capra, Chaplin, Disney, Fellini, Fitzgerald, Griffith, Kael, Kurasawa, Pathe, Sarris, Schwarzenegger, Spielberg, Waters and Welles among them. The quotations are arranged under 31 topics such as acting, animation, audience, budget, casting, critics, costume design, directing, locations, reviews, screenwriting, special effects and stardom. Indexing by filmmakers (or critics), by film titles and by narrow subjects provides a rich array of points of access.

Bringing together twenty-five years of work on what he has called the "historical poetics of cinema," David Bordwell presents an extended analysis of a key question for film studies: how are films made, in particular historical contexts, in order to achieve certain effects? For Bordwell, films are made things, existing within historical contexts, and aim to create determinate effects. Beginning with this central thesis, Bordwell works out a full understanding of how films channel and recast cultural influences for their cinematic purposes. With more than five hundred film stills, Poetics of Cinema is a must-have for any student of cinema.