100 Years at the Movies
(1994); 1939: Hollywood's Greatest Year (2009); 20 to 1 (2010); 21 Days
Together (1940); A Streetcar Named Desire (1951); A Yank at Oxford (1938); ABC
2000: The Millennium (1999); Alexander Korda, Kt (1956); All-Time Movie Greats
(1988); America at the Movies (1976); America in Color (2018); American Masters
(2003); Anna Karenina (1948); Beyond Tara: The Extraordinary Life of Hattie
McDaniel (2001); Biography (1998–2001); Brother Can You Spare a Dime (1975); Caesar
and Cleopatra (1945); Canaan Land (2020); Catalogue of Ships (2008); Cavalcade
of the Academy Awards (1940); Century of Cinema (1995); Churchill and the Movie
Mogul (2019); Classified X (2007); Corazón de... (2005); Dark Journey (1937); Darlings
of the Gods (1989); Der Klang Hollywoods - Max Steiner & seine Erben (2009);
Dieter & Andreas (1989); Faye (2024); Fire Over England (1937); Gentleman's
Agreement (1935); Glorious Technicolor (1998); Going Attractions: The
Definitive Story of the Movie Palace (2019); Gone with the Wind (1939); Great
Performances (1983); Great Romances of the 20th Century (1997); Has Anybody
Here Seen Canada? A History of Canadian Movies 1939-1953 (1979); Heinz Rühmann:
Kleiner Mann ganz groß (1994); HI$TORY (2019); Hollywood Couples (2001); Hollywood
Out-takes and Rare Footage (1983); Hollywood Remembers Lee Marvin (2000); Hollywood
Scandals and Tragedies (1988); Hollywood: Style Center of the World (1940); Hollywood:
The Dream Factory (1972); Hollywood: The Selznick Years (1969); Intimate
Portrait (1996); ITV Play of the Week (1959); Korda Interviews (1956); Länder -
Menschen - Abenteuer (2011); Larry and Vivien: The Oliviers in Love (2001); Legends
(2000); Legends of Entertainment Video (1995); Legends of World Cinema (2004); Les
couples mythiques du cinema (2015); Leslie Howard: The Man Who Gave a Damn
(2016); L'Histoire nous le dira (2019); Living Famously (2003); Look Up and
Laugh (1935); Mo' Funny: Black Comedy in America (1993); Morgenmagazin (2024); MsMojo
(2023); Murphy Brown (1989); My Week with Marilyn: The Untold Story of an
American Icon (2011); News 44 (1994); Reader, I Married Him (2006); Round the
Film Studios (1937); Sale el Sol (2022); Scotty and the Secret History of
Hollywood (2017); Ship of Fools (1965); Showbiz Ballyhoo (1982); Sir John
Mills' Moving Memories (2000); Small World (1958); Stardust: The Bette Davis
Story (2006); Storm in a Teacup (1937); Suncoast Motion Picture Company - We
Can Take You There Commercial (1986); Sunset Over Mulholland Drive (2019); Teresa
the Thief (1973); That Hamilton Woman (1941); That's Entertainment! III (1994);
That's Entertainment, Part II (1976); The 14th Annual Tony Awards (1960); The
17th Annual Tony Awards (1963); The British Academy Awards (1956); The Deep
Blue Sea (1955); The Drunken Peasants (2016); The Ed Sullivan Show (1954 / 1963);
The Extraordinary Seaman (1969); The First 100 Years: A Celebration of American
Movies (1995); The Golden Gong (1985); The Golden Years of Alexander Korda
(1968); The Good, the Bad & the Beautiful (1996); The Making of a Legend:
Gone with the Wind (1988); The Prince, the Showgirl and Me (2004); The
Rebellious Olivia de Havilland (2021); The Roman Spring of Mrs. Stone (1961); The
Screen Director (1951); The Sidewalks of London (1938); The Tales of Helpmann
(1990); The Tonight Show Starring Jack Paar (1960); The Village Squire (1935); The
Wonderful Wizard of Oz: 50 Years of Magic (1990); Things Are Looking Up (1935);
To Oz! The Making of a Classic (2009); Today (1960); Today Australia (2017); Today
Tonight (2007); Truman & Tennessee: An Intimate Conversation (2020); Unsere
Besten (2004); Vivien Leigh, autant en emporte le vent (2021); Vivien Leigh:
Scarlett and Beyond (1990); Waterloo Bridge (1940).
Mustang Country (1976); The
Young Rounders (1971); Cry Blood, Apache (1970); Ride the High Country (1962); The
Crowning Experience (1960); Wichita Town (1959–1960); The Gunfight at Dodge
City (1959); Fort Massacre (1958); Cattle Empire (1958); The Tall Stranger
(1957); Gunsight Ridge (1957); Trooper Hook (1957); The Oklahoman (1957); The
First Texan (1956); Wichita (1955); Stranger on Horseback (1955); Black Horse
Canyon (1954); Border River (1954); Shoot First (1953); The Lone Hand (1953); The
San Francisco Story (1952); Cattle Drive (1951); Hollywood Story (1951); Frenchie
(1950); Saddle Tramp (1950); Stars in My Crown (1950); The Outriders (1950); Colorado
Territory (1949); South of St. Louis (1949); Four Faces West (1948); Ramrod
(1947); The Virginian (1946); The Unseen (1945); The Great Moment (1944); Buffalo
Bill (1944); The More the Merrier (1943); The Palm Beach Story (1942); Sullivan's
Travels (1941); The Great Man's Lady (1941); Reaching for the Sun (1941); Foreign
Correspondent (1940); Primrose Path (1940); He Married His Wife (1940); Espionage
Agent (1939); They Shall Have Music (1939); Union Pacific (1939); Youth Takes a
Fling (1938); Three Blind Mice (1938); Wells Fargo (1937); Dead End (1937); Woman
Chases Man (1937); Internes Can't Take Money (1937); Banjo on My Knee (1936); Come
and Get It (1936); Adventure in Manhattan (1936); Two in a Crowd (1936); These
Three (1936); Splendor (1935); Barbary Coast (1935); Woman Wanted (1935); Our
Little Girl (1935); Private Worlds (1935); The Richest Girl in the World (1934);
Half a Sinner (1934); Gambling Lady (1934); Chance at Heaven (1933); One Man's
Journey (1933); Bed of Roses (1933); The Silver Cord (1933); Scarlet River
(1933); Rockabye (1932); The Sport Parade (1932); The Most Dangerous Game
(1932); Bird of Paradise (1932); The Lost Squadron (1932); Business and
Pleasure (1932); Girls About Town (1931); The Common Law (1931); Born to Love
(1931); Kept Husbands (1931); Once a Sinner (1931); Lightnin' (1930); The
Silver Horde (1930); Framed (1930); Dynamite (1929); So This Is College (1929);
The Single Standard (1929); The Jazz Age (1929); The Five O'Clock Girl (1928); The
Divine Lady (1928); Freedom of the Press (1928); Dead Man's Curve (1928); The
Enemy (1927); The Fair Co-Ed (1927); Torrent (1926); A Self-Made Failure (1924);
Penrod and Sam (1923).
They Met in Bombay
(1941); The Lady from Cheyenne (1941); The Bank Dick (1940); I Want a Divorce
(1940); Girl from Avenue A (1940); I Can't Give You Anything But Love, Baby
(1940); Star Dust (1940); The Blue Bird (1940); Drums Along the Mohawk (1939); Mickey
the Kid (1939); The Kid from Texas (1939); Cafe Society (1939); St. Louis Blues
(1939); Four Girls in White (1939); Port of Seven Seas (1938); Hold That Kiss
(1938); Love Is a Headache (1938); Double Wedding (1937); The Last of Mrs.
Cheyney (1937); The Good Earth (1937); After the Thin Man (1936); Camille
(1936); Walking on Air (1936); Bunker Bean (1936); San Francisco (1936); The
Unguarded Hour (1936); Little Lord Fauntleroy (1936); Yellow Dust (1936); The
Garden Murder Case (1936); Captain Blood (1935); I Found Stella Parish (1935); Metropolitan
(1935); I Live My Life (1935); Jalna (1935); Paris in Spring (1935); Mark of
the Vampire (1935); Les Misérables (1935); Vanessa, Her Love Story (1935); Enchanted
April (1935); David Copperfield (1935); Evelyn Prentice (1934); We Live Again
(1934); One Night of Love (1934); The Affairs of Cellini (1934); Murder at the
Vanities (1934); Coming Out Party (1934); Nana (1934); Ann Carver's Profession
(1933); Cocktail Hour (1933); Elmer, the Great (1933); Child of Manhattan
(1933); Such a Little Queen (1921); The Madonna of the Slums (1919); New York (1916);
Mary's Lamb (1915); The Galloper (1915); A Ringer for Max (1915).
Syd Mead is one of the
most accomplished and widely respected artists and industrial designers alive
today. His career boasts an incredible array of projects from designing cars to
drafting architectural renderings, but he is most famous for his work as a
concept artist on some of the most visually arresting films in the history of
cinema. Since working on Star Trek: The Motion Picture in 1978 as a
production illustrator Syd Mead has always aimed to render “reality ahead of
schedule,” creating evocative designs that marry believable content with a
neofuturistic form. It is this ability to predict technological potential that
has helped Mead create such a distinctive and influential aesthetic. From his
work with Ridley Scott on Blade Runner, to his striking designs for the
light cycles in Tron, to his imposing concept art for the U.S.S. Sulaco
in James Cameron’s Aliens, Syd Mead has played a pivotal role in shaping
cinema’s vision of the future.
The Movie Art of Syd Mead: Visual Futurist represents the most extensive collection of
Mead’s visionary work ever printed, compiling hundreds of images, sketches and
concept arts from a career spanning almost 40 years, many of which have never
been seen in print before. Each entry provides a unique insight into the
processes involved in Mead’s practice as well as illuminating the
behind-the-scenes work involved in creating a fully realized, cinematic
depiction of the future. With such a plethora of images from the many
genre-defining films Mead has worked on, this is essential reading for film
fans, artists and futurologists alike.
In our modern era, we
like to congratulate ourselves for our sophistication, knowing that we have
doubtless created a world that our feckless ancestors could never have
imagined. Actually reading the works of those ancestors would disabuse us of
any such notion, and E. M. Forster's The Machine Stops is a case in
point. Not only does it seem that Forster has contemplated the ubiquitous
'Zoom' call, but he correctly sensed the deadening of the soul that would
accompany the faux-mastery of Nature, expressing itself through technology.
In The
Machine Stops the height of mankind's advances was The Machine, and it
cared for every aspect of human experience, and anticipated every human need,
until such time that there was nothing left for humans to do except eat, and,
if the algorithm approved, procreate; and when the algorithm decided Euthanasia
was due, then Euthanasia was happily accepted. The Machine was not just the
pinnacle of human ingenuity, it was Progress Incarnate. And then... the Machine
Stopped. Today, we hail our own progress, technological and societal. If our
machine stops, what then? Do we really suppose it is eternal?