Search Results: Dystopian from Royal Books, Inc.

N.p.: N.p., 1984. Vintage borderless reference photograph from the 1984 film, showing actors John Hurt and Suzanna Hamilton. Based on George Orwell's classic 1949 novel, about a civil servant in war-torn, dystopian London. Richard Burton's final screen appearance. Set and shot on location in London. 10 x 8 inches. Near Fine.

Los Angeles: Twentieth Century-Fox, 1985. Final script for the 1986 film. A rare example of a sequel where in the sequel is not only as well received as the original film, but stands on its own as a separate work. A turning point in director James Cameron's career, his first big budget effort after the wildly successful "Terminator" in 1984. Nominated for seven Academy Awards, including Best Actress for Weaver. Set in space, shot on location in the United Kingdom. Green titled Twentieth Century-Fox wrappers, dated September 23, 1985. Title page present, dated September 23, 1985, noted as FINAL, with credits for director-screenwriter James Cameron. 106 leaves, with last page of text numbered 105. Xerographic duplication on eye-rest green stock, rectos only. Pages Fine, wrapper Near Fine, lightly creased on the front wrapper, bound with two gold brads.

Burbank, CA: Brighton Productions / Warner Brothers, 1980. Draft script for the seminal 1982 science fiction film. Copy belonging to special effects designer William Shourt, with "Shourt Works" written in manuscript pencil at the top right corner of the front wrapper. Though not credited, this is the last draft submitted by the film's first screenwriter, Hampton Fancher, and is dated the day after Fancher left the project (though he returned later for rewrites) and the writing chores were handed to David Webb Peoples. Principal shooting began on March 9, 1981. This version of the film ends differently than the cut released in 1982, showing Deckard alone by the end of the film. This draft also makes clear that Deckard knows he is a replicant, reflecting on that knowledge in more detail than any filmed version would later show. Based on the 1968 novel "Do Androids Dream of Electric Sheep?" by Philip K. Dick. A classic of the genre, building on the claustrophobic, dystopian vision director Ridley… Read More

New York: Bantam Books, 1952. First printing in paperback. Originally published by Chatto in the UK in 1932, and by Doubleday in the US later that year. About Near Fine in wrappers, with brief wear at the corners and rear wrapper lightly rubbed.

Universal City, CA: Embassy Pictures / Universal Pictures, 1985. Vintage borderless photograph from the 1985 film, showing director Gilliam and crew during a quiet moment between takes. With manuscript ink annotations on the verso. Gilliam's masterpiece, about a man trying to escape a bureaucratic, authoritarian government in a dystopian future. Nominated for two Academy Awards, including Best Screenplay. 8 x 10 inches. Near Fine. Criterion Collection 51.

Burbank, CA: Warner Brothers, 1971. Vintage color studio still photograph from the 1971 film, showing actors Malcolm McDowell, Vivienne Chandler, and Prudence Drage. Based on Anthony Burgess' 1962 novel. A futuristic, voyeuristic catapult into the world of teenage delinquent Alex DeLarge, who forcibly undergoes experimental treatment developed by the government to cure him of his affinity for violence. Set and shot on location in London. 10 x 8 inches. Near Fine. Vogel, Film as a Subversive Art.

N.p.: N.p., 1971. Vintage borderless reference photograph from the 1971 film, showing a hospital scene, with a camera crew on the far right capturing the shot. Based on Anthony Burgess' 1962 novel. A futuristic, voyeuristic catapult into the world of teenage delinquent Alex DeLarge, who is forced to undergo an experimental treatment developed by the government to cure him of his affinity for violence. Set and shot on location in London. 10 x 7 inches. Near Fine. Vogel, Film as a Subversive Art.

Burbank, CA: Warner Brothers, 1971. Collection of ten vintage double-weight oversize photographs from the French release of the 1971 film. Each with gold foil promotional label at the bottom right corner of the recto (as issued). Based on Anthony Burgess' 1962 novel. A futuristic, voyeuristic catapult into the world of teenage delinquent Alex DeLarge, who forcibly undergoes experimental treatment developed by the government to cure him of his affinity for violence. Set and shot on location in London. 15.5 x 12 inches. Very Good plus, lightly soiled and toned, with tiny punch holes at the corners as issued. Vogel, Film as a Subversive Art.

Burbank, CA: Warner Brothers, 1971. Four vintage studio still photographs from the US release of the 1971 film. Based on Anthony Burgess' 1962 novel. A futuristic, voyeuristic catapult into the world of teenage delinquent Alex DeLarge, who forcibly undergoes experimental treatment developed by the government to cure him of his affinity for violence. Set and shot on location in London. 10 x 8 inches. Near Fine. Vogel, Film as a Subversive Art.

Burbank, CA: Warner Brothers, 1971. Complete set of eight vintage French lobby cards from the 1971 film. Based on Anthony Burgess' 1962 novel. A futuristic, voyeuristic catapult into the world of teenage delinquent Alex DeLarge, who forcibly undergoes experimental treatment developed by the government to cure him of his affinity for violence. Set and shot on location in London. 10 x 8 inches. Fine. Vogel, Film as a Subversive Art.

N.p.: N.p., 1996. Vintage script for the 1996 British play, which made its US premiere at Steppenwolf Theatre in Chicago in March 1997. Basis for the 1997 film directed by David Hare and starring Mike Nichols, Miranda Richardson, and David de Keyser. A sparse, dystopian narrative, following three individuals facing execution by the government of an unnamed Western country, who believe them to be linked to subversive communist activities. White titled wrappers, with credits for playwright Wallace Shawn. Missing title page, presumably as issued. 52 leaves, with last page of text numbered 52. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with two silver brads.

N.p.: N.p., 1981. Vintage borderless reference photograph taken on the set of the 1981 film, showing John Carpenter directing Kurt Russell. From the archive of film historian and author Joel Finler. In a futuristic, dystopian New York, the island of Manhattan has been converted into a massive, maximum-security prison. Shot on location in New York City, Southern California, and St. Louis, Missouri. 10 x 8 inches. Near Fine. Carlson and Connolly, Destroy All Movies.

N.p.: N.p., 1967. Treatment script for an unproduced film. Laid in are four pages discussing the script, as well as two programs for a performance of a musical piece by Schoenberg. In a dystopian desert, a motorcyclist comes across a young woman and begs her for a drink of water, offering sex in exchange. She declines, but eventually leaves her husband to look for the cyclist, searching among the desert inhabitants, who are largely devoid of emotion and sensuality. Brown untitled wrappers. Title page present, dated February 23, 1967, with credits for screenwriters Mario Chiari and Robert Allan Hoag. 26 leaves, with last page of text numbered 25. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with two silver brads.

N.p.: Sandrews, 1969. Vintage one sheet Swedish poster for the 1969 film. At some ambiguous time in the near future, international superpowers introduce "international peace games," a lethal miniature battle of drafted teens from around the world, which is then broadcast as a popular reality television show. Shot on location in Sweden. 27.5 x 39 inches, folded as issued. Very Good plus, two small holes at middle and lower crease intersections.

N.p.: N.p., 1985. Treatment script for an unproduced film. Single annotation in manuscript ink on page 1. An allegory about an unusually powerful man who becomes a danger to his city, with the inhabitants unwilling, and eventually unable, to stop his reign of terror. Green untitled wrappers, with credits for screenwriter and director Alex Tudor. Title page present, dated April 21, 1985, with credit for screenwriter Alex Tudor. 16 leaves, with last leaf of text numbered 11. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with four staples. Pagination available upon request.

Los Angeles: Roger Andrieux, 1973. Second Draft script for an unproduced film. Based on the 1973 novel "The Man Who Would be Guilty" by Henrik Stangerup. A man murders his wife in a fit of passion, only to discover that he is unable to get the dystopian state to punish him for the crime. The novel was later adapted in Denmark, under the title "Manden der ville vaere skyldig" (1990). Tan untitled wrappers. Title page present, noted as SECOND VERSION, with credits for screenwriters Roger Andrieux and Gilles Taurand, and author Henrik Stangerup. 103 leaves, with last page of text numbered 101. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with three gold brads.

Burbank, CA: American Broadcasting Company [ABC], 1971. Draft script for the 1971 television movie, here under the working title "The Day They Took the Babies Away." Actor Van Heflin's working copy, with his manuscript annotations throughout. A film produced for ABC's now-legendary "Movie of the Week" series. A pregnant woman goes on the run in a dystopian future where having children is outlawed due to overpopulation. Goldenrod titled wrappers, noted as Revised on the front wrapper, dated 2-1-71. Title page present, dated January 26, 1971, with credit for screenwriter Fischer. 122 leaves on green stock, mimeograph duplication, with goldenrod, light orange, yellow, and blue revision pages throughout, dated variously between 1-29-71 and 2-12-71. Pages Near Fine, wrapper Near Fine, bound with two gold brads.

Hollywood: Universum Film [UFA] / Paramount Pictures, 1927. Original advertising herald for the US release of the 1927 film, a shortened 115-minute version re-cut by American playwright Channing Pollock, who is credited on the herald. Interestingly, the herald credits the film as joint production of Paramount and UFA, just prior to the formation of the larger umbrella production company Parufamet, which included UFA, Paramount, and MGM. 4.5 x 6 inches folded, 8.75 x 6 inches unfolded. Near Fine with some light soil. Ebert I. Eureka Masters of Cinema 16. Rosenbaum 1000. Schrader Canon Fodder 5. Godard, Histoires du cinema.

Universal City: Universal Pictures, 1967. Collection of ten vintage photographs, including eight borderless reference photographs, one borderless promotional photograph of Paul Jones and Jean Shrimpton, and one promotional studio still photographof the same, from the 1967 film. Nine of these with a mimeo snipe on verso, one with additional "David Lasceller" stamp on verso. Peter Watkin's outrageous and paranoiac dystopian satire of the world's most famous and beloved pop star who is controlled by a totalitarian British government. Patti Smith covered one of the film's songs, "Set Me Free," as "Privilege (Set Me Free)" on her 1978 album "Easter." Set in a near-future England, shot on location in London and Birmingham, England. 8 x 10 inches. Light edge and corner wear, else Near Fine. BFI Flipside 7.

Universal City: Universal Pictures, 1967. Vintage borderless reference photograph from the 1967 British film, showing actors Jean Shrimpton and Paul Jones dancing. Mimeo snipe to the verso, along with the stamp of the Israel Film Archive. An outrageous, paranoiac satire, following a beloved pop star named Steven Shorter whose actions, beliefs, and performances are controlled by a totalitarian British government. Set in a near-future England, shot on location in London and Birmingham. 8 x 9.5 inches. Very Good plus, with pinholes and light creases to the corners. BFI Flipside 7. Rosenbaum 1000.