Or Alec Guinness and Laurence Olivier? The title Psychedelic Celluloid i think is a little misleading, as it mostly focuses on films with a Swinging London theme rather than specifically psychedelic, and i found the mix of movies and music documentaries a bit odd. It had a big art house director, Michelangelo Antonioni, and a young star, David Hemmings, playing a character with the coolest of occupations — a fashion photographer. Kindle rant While I would give the book Psychedelic Celluloid a seven rating out of ten for its contents, I am somewhat disappointed in the Kindle edition. The films in turn show this with the way they concentrate on the latest fashions, music, design, clothes and art. And the beauty of this guide is that it assembles a list of 120 'flower power' films in the first place. Oldcastle Books, 224 Pages, Colour. Carefully researched and drawing on interviews with some of the survivors of the era, it provides a witty and detailed account of each major production, listing its stars, directors, producers and music and showing how they were linked to the fashion and trends of the period.
The author could've added more anecdotes or juicy rumours if you ask me. . Carefully researched and drawing on interviews with some of the survivors of the era, Psychedelic Celluloid provides a witty and detailed account of each major production, listing its stars, directors, producers and music and showing how they were linked to the fashion and trends of the period. He produced three films , and and I got drawn in from there. The picture legends have golden letters on a white background and are completely unreadable you can't change the background colour either, as in other Kindle books. On my medium sized tablet screen 10. Carefully researched and drawing on interviews with some of the survivors of the era, it provides a witty and detailed account of each major production, listing its stars, directors, producers and music and showing how they were linked to the fashion and trends of the period.
The book, as a traditional book, is beautifully printed, with a lot of white-space next to the text to include pictures in a separate column or to interact with the text as in the 'Magic Christian' example at the left. If any one film represented the era and could be said to be emblematic of the genre it must surely be Blow-Up, which has its 50th anniversary on 18 December, 2016. Carefully researched and drawing on interviews with some of the survivors of the era, Psychedelic Celluloid provides a witty and detailed account of each major production listing its stars, directors, producers and music and showing how they were linked to the fashion and trends of the period. The plot, too, still holds water — the empty futility of celebrity culture mixed with a simple murder mystery. But of course, books have already been written about that movie alone.
The definitive guide to the decade when swinging London was the film capital of the world. Perhaps that is what Simon Matthews really wants as I'm pretty sure he knows more about these movies than he was allowed to write. Unfortunately I never found out if he succeeded in his mission, or failed. Psychedelic Celluloid provides us with an even-handed historic and, dare I say, academic document of the most exciting period of the twentieth century. There has been so much visual documentation of Sixties pop culture — iconic photo shoots, album covers and films of dandies parading down Carnaby Street — that it is easy to forget the impact of this vibrant period on film and television. Published 11 Oct 2016 About Little White Lies Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them.
To the casual observer Matthews would appear, on the surface, to have crafted the kind of coffee table tome that one can dip in and out of without having to think too hard. This lacuna is addressed by a new book that documents the influence of British music on visual entertainment at the height of the swinging sixties. In Psychedelic Celluloid, Simon Matthews uses British pop music and the symbiotic relationship that it enjoyed with film and television as an anchor-point to signpost the development of the decade explored here. Cinema is a mirror for England and the best films of this period are characterised by a quality, inventiveness and optimism that still resonates decades later. Matthews takes us on a journey through over three hundred films and television shows, providing trivia, facts and insights- all of it is fascinating. In Psychedelic Celluloid, Matthews charts how a vast range of musicians dominated the wider scene, from The Beatles, through the influential Pink Floyd to weird cameos from the likes of a pre-Crazy World of Arthur Brown.
Starring Zoot Money, with music of Brian Auger, Blossom Toes, Dantalion's Chariot, Julie Driscoll, Gary Farr and a couple of others, its history is so fascinating that it could easily have taken six pages, but it stops at two. The E-mail message field is required. Leo the Last with Ram John Holder is a brilliant, pioneering film that is now rarely seen — despite winning John Boorman a prize at the Cannes Film Festival. It is the first book by Simon Matthews, a writer for publications such as Record Collector and Shindig! Take Performance, for instance, not a word about the orgies and the drugs in front and behind the camera. After reading that entry I spend a good hour browsing the Internet for more information, reading about a maniacal fan, Peter Prentice, who nearly spend a fortune trying to locate a surviving copy. Still a good book though. I would argue that , , and will be watched as long as cinema exists.
Psychedelic Celluloid is the definitive guide to the decade when swinging London was the film capital of the world. Reading the Kindle version of Psychedelic Celluloid is like reading a badly xeroxed book but with the one difference that on good old photocopies you could still scribble some notes. The intriguing story of the disappeared movie Popdown is a perfect example. The kitchen-sink social realism of Reisz, Richardson, Finney and Schlesinger or Ritchie, Boyle and Curtis and their latter day blockbusters? Several times when I was at the point of saying 'this is starting to get interesting' the article ends and makes place for another one, leaving my hunger unsatisfied. The film already captured some of the new, more sprightly aesthetic, directed as it was by the American Richard Lester, already a dab hand at comedy thanks to his connections to John Lennon faves The Goons.
Anyone for a remake with Steve Coogan in the Peter Sellers role? Like the best documentarians, Simon Matthews finds interest in that which others would discard as insignificant and the book is much stronger for it. After this dollars flowed into London as the major Hollywood studios all tried to hit the jackpot. I would argue none of these, and, that a strong case can be made instead for the rush of youth-oriented productions between 1965 and 1972. However, the Kindle version does not allow in-text searching, nor adding notes, nor changing the font size. . . .
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