Cinemaps: An Atlas of 35 Great Movies by A.D. Jameson (English) Hardcover Book

Description: Cinemaps by A.D. Jameson, Andrew Degraff This beautiful hardcover art book allows you to travel through all of your favorite movies from NORTH BY NORTHWEST to MAD MAX:FURY ROAD via a series of beautiful, intricately-detailed hand-painted maps. FORMAT Hardcover LANGUAGE English CONDITION Brand New Publisher Description This beautifully illustrated atlas of beloved movies is an essential reference for cinephiles, fans of great films, and anyone who loves the art of mapmaking.Acclaimed artist Andrew DeGraff has created beautiful hand-painted maps of all your favorite films, from King Kong and North by Northwest to The Princess Bride, Fargo, Pulp Fiction, even The Breakfast Club-with the routes of major characters charted in meticulous cartographic detail. Follow Marty McFly through the Hill Valley of 1985, 1955, and 1985 once again as he races Back to the Future. Trail Jack Torrance as he navigates the corridors of the Overlook Hotel in The Shining. And join Indiana Jones on a globe-spanning journey from Nepal to Cairo to London on his quest for the famed Lost Ark. Each map is presented in an 9-by-12-inch format, with key details enlarged for closer inspection, and is accompanied by illuminating essays from film critic A. D. Jameson, who speaks to the unique geographies of each film. Notes Follow Indiana Jones on his globe-spanning journey from Nepal to Cairo and London, and Marty McFly through the Hill Valley, in this beautiful hardcover title that allows you to travel through all of your favourite films through a series of intricately-detailed and hand-painted maps. Author Biography Andrew DeGraff has created illustrations for the New York Times, Sports Illustrated, Esquire, and other national publications. His previous book, Plotted, was hailed by Slate as "beautifully illustrated . . . an innovative work of literary criticism."A. D. Jameson is an author and Ph.D. candidate at the University of Illinois at Chicago, where he teaches writing and film studies. Review "Artist Andrew DeGraff has found a way to transport you directly into the terrain of your favorite films with gorgeous hand-painted maps."—Slash Film"[DeGraffs] maps reveal our favorite films as dynamic, complex organisms—simultaneously aging and timeless—and give fans an imaginative new route into the films they love."—Playboy"Visually stunning."—Esquire "This one-of-a-kind atlas is a must for both film buffs and art lovers."—Parade"The cartographically inclined wont be able to resist this collection of maps charting Marty McFlys coming and goings in Hill Valley, Indiana Joness globetrotting, and more from 35 iconic films."—Town & Country "These maps arent drawn to scale, but what they lack in rigorous precision they more than make up for in color, clarity and crazily detailed thoroughness."—Glen Weldon, Pop Culture Happy Hour"An essential reference for cinephiles, fans of great films, and anyone who loves the art of mapmaking."—Tor.com"DeGraff infuses his array of blockbusters and pop classics with detail-oriented warmth."—Film Comment "Charted in meticulous detail."—IndieWire"A unique gift for the movie lover in your life."—Hypable"A treasure …[Cinemaps] will entice movie fans across generations with its visual tidbits and analytical essays."—Geeks of Doom"If you havent already rushed out to buy this book, then I suggest you get on that."—All Geek to Me Review Quote "Artist Andrew DeGraff has found a way to transport you directly into the terrain of your favorite films with gorgeous hand-painted maps."-- Slash Film "[DeGraffs] maps reveal our favorite films as dynamic, complex organisms--simultaneously aging and timeless--and give fans an imaginative new route into the films they love."-- Playboy " This one-of-a-kind atlas is a must for both film buffs and art lovers."-- Parade "An essential reference for cinephiles, fans of great films, and anyone who loves the art of mapmaking."--Tor.com "A treasure ...[ Cinemaps ] will entice movie fans across generations with its visual tidbits and analytical essays."-- Geeks of Doom "If you havent already rushed out to buy this book, then I suggest you get on that."-- All Geek to Me Excerpt from Book Introduction: I love movies. Studio movies, indie movies, black-and-white movies, animated movies, subtitled movies--I love them all. And growing up with the first generation of VCRs and video rental stores, I could revisit my favorites again and again. Nowadays, this is something we all take for granted, but back in the mid-1980s "movies on demand" was a new and utterly amazing experience. For the first time in motion-picture history, viewers could watch movies in their own homes, on their own schedules, and on their own terms. As teenagers, we studied our favorite films with manic intensity, pausing the tapes to parse lines of dialogue, study the architecture of a starship, or note a weird directorial signature. We rewound A New Hope to watch that one clumsy stormtrooper bumping his head on the ceiling. We read the credits in search of familiar names. We laughed over the perverted Easter eggs hidden in animated Disney films. If you grew up watching movies in the late 1970s or early 1980s, you probably did many of these things, too. It was the advent of the summer blockbuster. All the tools of the great cinematic masters--Kurosawa, Hitchcock, Lang, Bergman--were being applied to something new, fresh, and fun, to movies tailor- made for the children of baby boomers. We were an audience of millions, with hungry imaginations, time on our hands, and allowance money burning holes in our pockets. We were raised on Star Wars and Indiana Jones and we wanted more--more aliens, more monsters, more strange worlds to explore. But if we couldnt have more movies, wed settle for the same movie again and again. Wed line up on opening weekends for the sequels to Back to the Future , Ghostbusters , and Star Trek . These films were marvels of craftsmanship created by extraordinary talents. Our monsters were created by H. R. Giger and Jim Henson. Our locations and sets were designed by Syd Mead, Ron Cobb, and Ralph McQuarrie. Our comedy, by directors like John Hughes and Rob Reiner, was deftly insightful and, later, beautifully manicured by the likes of Edgar Wright and Wes Anderson. Our adventures were designed and dressed by Jim Steranko. Our posters were painted by Drew Struzan and John Alvin. As a child, I didnt realize how lucky I was. Now I do, and I suppose this book is the evidence. The illustrators, designers, painters, and creators mentioned above were some of my earliest influences, even if I didnt yet know their names. This book and its paintings are in many ways an homage to all the talented people working behind the scenes of my favorite films. Before I knew what I wanted to be, I knew I wanted to be them. So as I gleefully kneel at the altar of popular cinema, you might be wondering why Ive left such strange offerings. In other words, why did I paint all of these maps? The answer probably lies somewhere in my childhood. As a kid, I covered my bedroom walls with full-color maps pulled from the pages of my fathers National Geographic collection. I had a comforter listing all the states and their capitals; you could say I was effectively swaddled in maps every night. I was fascinated by the way maps blend information with graphic design. Id trace my finger over rivers and roads, imagining the people who lived in these strange and far-flung places. Jump cut to twenty years later: I was working as a freelance illustrator when a travel magazine asked me to create some maps. It was an irresistible opportunity, but I quickly learned that creating a map is a lot harder than reading one. To make a good map, I had to really know my subject, wrangling a laundry list of different things into some sort of order. If youve ever handpainted a sign and found yourself running out of room for the last word, then you have an inkling of the mapmakers dilemma. Planning ahead is essential. Geography and spacing are generally going to hinder, not help, you. But I enjoyed the challenge, and more map assignments started coming my way. Then one day it occurred to me that I might marry my two childhood interests--maps and movies--on the same page. My first effort was drawing the underground caverns of Richard Donners The Goonies ; I followed up with the summer camp setting of David Wains Wet Hot American Summer (opposite). Neither was as detailed as the maps in this book; there were no character arrows and the approach was pretty stark, just one color of gouache and zero people. But they were sprinkled with little Easter eggs from the films, like Troys bucket (from The Goonies ) and the bale of hay roadblock (from Wet Hot American Summer ). To my delight, people really responded to these paintings. They recognized the settings and mentally filled in the rest--the story and the quotes and the characters they knew so well. Soon they began requesting more. After those maps came North by Northwest , with its Saul Bass-inspired use of arrows for one character, and then Star Wars and Indiana Jones , with arrows following all the major players. Then Shaun of the Dead , Star Trek , Back to the Future , The Shining , The Lord of the Rings , and others. I think of these paintings as scale models of summer blockbusters, diagramming a limited amount of time--usually about 120 minutes--between the opening and closing credits. As viewers and fans, weve traveled every inch of these journeys before. Weve trekked through the forest and the jungles, weve soared past the planets and the space stations. Yet we keep returning to these worlds again and again. With these maps, we can view our favorite films from a fresh perspective. We can travel the familiar journeys in new and unfamiliar ways. The mapmaking process is long and laborious. Each one takes several weeks, even months, to complete; my map for the Lord of the Rings trilogy was the most complex of all, requiring more than 1,000 hours. When Im working on a new map, Ill watch the corresponding film at least twenty times, occasionally as many as fifty times. For weeks, the film Im mapping will be a constant backdrop to my life. The soundtrack will invade my dreams. Ill spend a lot of time researching locations through set photography, production notes, and some of the insanely detailed LEGO models posted by fans online (I cant believe these exist, but they do). Sometimes Ill even research locations that are never completely shown in the film. Whenever possible, I like to reveal the full extent of a place, like the Soldiers and Sailor memorial in Pittsburgh, which houses significant scenes in The Silence of the Lambs but whose lovely exterior is shown only in a passing glance in the black of night. Or the old LaSalle Street Station in Chicago, where Cary Grant performed his little bathroom shaving gag in North by Northwest . Hitchcock doesnt show the exterior, but its a part of the map and quite lovely, too. To my surprise and great delight, these maps have found an eager and enthusiastic audience on the internet. I am forever grateful to the early adopters who bought paintings and prints and posted them online. From big-name directors like J. J. Abrams (who bought my map of his first Star Trek film) and well-known producers to fellow mapmakers, designers, writers, and film enthusiasts, my work has found an audience in a wide cross-section of people. The tribe of pop culture and popular cinema is nothing if not a big tent, and its growing all the time. I always hoped to compile my maps into a single volume, and as their number increased, I began to think more seriously about what form such a volume might take. I didnt want to make a conventional art book or a conventional film book. My hope was that this collection could be a bit of both. Enter Quirk Books and publisher Jason Rekulak: master of the intersection where art, academia, and pop culture meet and to whom I am ever thankful. At the same time, I knew I needed a writer to give context and impart a deeper understanding of why we love these films so much and the reasons they resonate. This film bard would have to be able not only to start the conversation, but also to inform the reader why they should watch the film again (or for the first time). Beyond those herculean requirements, this person would have to shed new light and insight on some of the most discussed, parsed, lampooned, and dissected films of all time. Enter the talented A. D. Jameson, to whom I am also forever thankful. Now I had a great publisher, and a great writer, and a large number of maps and movies to consider for the book. Because I had begun by working with the 1970s and 80s blockbusters of my childhood, it made sense to concentrate mostly on that era. But of course I also wanted to include such classics as King Kong and Metropolis as well as more conte Details ISBN1594749892 Author Andrew Degraff Pages 160 Publisher Quirk Books Year 2017 ISBN-10 1594749892 ISBN-13 9781594749896 Format Hardcover Publication Date 2017-10-24 Imprint Quirk Books Subtitle An Atlas of 35 Great Movies Place of Publication Philadelphia Country of Publication United States Media Book DEWEY 791.4375 Short Title Cinemaps Language English UK Release Date 2017-10-24 AU Release Date 2017-10-24 NZ Release Date 2017-10-24 US Release Date 2017-10-24 Illustrations Full colour illustrations throughout Audience General We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! 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