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003			TR-AnTOB
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007			ta
008			200723t20202020enka 000 0 eng d
010			_a 2020286044
015			_aGBB9J4628 _2bnb
016	7		_a019633501 _2Uk
020			_a9780714879383 _q(pbk.)
020			_a071487938X _q(pbk.)
035			_a(OCoLC)on1112278431
035			_a(TR-AnTOB)200440194
040			_aYDX _beng _cYDX _erda _dBDX _dUKMGB _dOCLCO _dERASA _dOCLCF _dGO9 _dOCLCO _dNZAUC _dMYA _dUAB _dGZN _dDLC _dTR-AnTOB
041	0		_aeng
050	0	0	_aPN1995.9.S69 _bA85 2020
090			_aPN1995.9.S69 _bA85 2020
100	1		_aAtkins, Annie _eauthor _9132343
245	1	0	_aFake love letters, forged telegrams, and prison escape maps : _bdesigning graphic props for filmmaking / _cAnnie Atkins.
246	3	0	_aDesigning graphic props for filmmaking
264		1	_aLondon : _bPhaidon Press Limited, _c2020.
264		4	_c©2020
300			_a206 pages : _billustrations (chiefly color) ; _c26 cm
336			_atext _btxt _2rdacontent
336			_astill image _bsti _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
505	0		_aDetails -- Research -- Zubrowka -- Continuity -- Language -- Tools.
520	8		_aAlthough graphic props such as invitations, letters, tickets, and packaging are rarely seen close-up by a cinema audience, they are designed in painstaking detail. Dublin-based designer Annie Atkins invites readers into the creative process behind her intricately designed, rigorously researched, and visually stunning graphic props. These objects may be given just a fleeting moment of screen time, but their authenticity is vital and their role is crucial: to nudge both the actors on set and the audience just that much further into the fictional world of the film.
650		0	_aStage props _9132344
650		0	_aStage props _xDesign _9132345
650		0	_aMotion pictures _xSetting and scenery _994733
650		0	_aGraphic arts _941675
650		7	_aGraphic arts. _2fast _0(OCoLC)fst00946595
650		7	_aMotion pictures _xSetting and scenery. _2fast _0(OCoLC)fst01027381
650		7	_aStage props. _2fast _0(OCoLC)fst01131332
942			_2lcc _cBK