MORE FABULOUS FACES, by Larry Carr (Doubleday, $19.95). It was inevitable in these days of the movie sequel that books on movies would spawn a sequel or two of their own. An example is this sumptuous, if somewhat leaner, follow-up to the successful Four Fabulous Faces. This time around, the author has chosen to study the "evolution and metamorphosis" of Delores Del Rio, Myrna Loy, Carole Lombard, Bette Davis and Katharine Hepburn. The film portraits are lovingly chosen, printed and cropped, and these huge faces loom over the pages, almost oppressively so -- a feast of the disturbingly beautiful. The accompanying text seems to make glazed hams of the actresses except when it delves into subjects it knows something about, usually in the areas of make-up and fashion. THE WORLD OF FILM AND FILMMAKERS: A Visual History, edited by Don Allen (Crown, $19.65). This is a highly original film survey -- in the visual-approach-to-education mode -- that uses paintings, drawings, charts, photographs and other graphics to illustrate its points. Put together by a committee of cinema heavyweights (film director Francois Truffaut and critics James Monaco and David Robinson are among the contributors), the book contains a decade-by-decade film review and sections on production, technique, mythology and genre. The art material is hapharzardly selected and willfully sexy but imaginatively laid out and always diverting. The writing is a crazy-quilt of ideas, criticism, hero worship and information. WITHOUT MAKEUP: Liv Ullmann, a Photo-Biography, compiled by David E. Outerbridge (Morrow, $15). There are hundreds of excellent glossy black-and-white photos, usually in close-up, of the Norwegian actress in this career portfolio. It covers her early sex-kitten days, through her long cycle of Ingmar Bergman films, to her current emphasis on theatrical productions. The photos indicate a greater versatility than one would guess from the most sincere of international stars, and they are mounted so spectacularly that the faces suggest a bizarre mating of Diane Arbus and Francesco Scavullo. A long, incisive interview with Ullman is included. FRED ASTAIRE, by Benny Green (Exeter/Bookthrift, $9.98). As Fred Astaire high-steps in the general direction of the heavens, he leaves us mere mortals grasping for the words to describe the flight. Sensibly, musician-writer Benny Green lets pictures do most of the analysis here. The biographical information and commentary (Arlene Croce's superb The Fred Astaire and Ginger Rogers Book is quoted generously) is a few notches above the rest of the photo-book field. Unfortunately, the many black-and-white film stills are reprinted badly. However, the color posters and earlier photos from Astaire's Broadway and vaudeville work are sharp, happy delights. And any book which captures Roger's fabulous back in full arch and Cyd Charisse's thighs in full glory certainly compensates its technical deficiencies. THE FILM ENCYCLOPEDIA, by Ephraim Katz (Crowell, $29.95). This is a great stuffed stocking of information: over 7,000 entries arranged alphabetically, packed in 1,266 pages (in small print) of biographies, filmographies and definitions of technical terms. There are entertaining tidbits on stars, producers, directors, writers, editors, in addition to histories of film development in the major countries around the world. If the fact that Burt Reynolds washed dishes at Schrafft's or that Kim Novak toured the country as "Miss Deepfreeze," demonstrating refrigerators, sets your trivia mind clicking, this book will leave you flushed with pleasure. Katz's attention to dates and spelling is also unusually exacting for books of the kind. For example, he not only spells Barbra Streisand's name correctly but the name of her first Broadway role, Miss Yetta Tessye Marmelstein, as well. THE MAKING OF THE GREAT WESTERNS, by William R. Meyer (Arlington House, $20). A collection of essays on 30 movie westerns, which include Stagecoach, Red River, High Noon, The Wild Bunch and McCabe and Mrs. Miller, is marked by some lively, if overly enthusiastic, writing. But solid research on the preparation and filming of each picture usually gets in the way of the author's more sophormoric impulses. Film credits and well-selected comments from the national critics are included for each film, and an occasional photo punctuates the proceedings. CLOSE-UPS: From the Golden Age of the Silent Cinema, by John R. Finch and Paul A. Elby (Barnes/Tantivy, $25). Anyone with the slightest interest in silent films will find this gallery of 6-by-8-inch face shots, one to a page, indispensible. The stars are arranged in loose chronology, according to their period in screen history, and then are profiled in a simple paragraph after each photo section. Part one concentrates on performers like Wallace Reid and Norma Talmadge, who became stars during the silent period. Part two studies performers like Clark Gable and Marlene Dietrich, who got their starts in the era but became famous later in the talkies. The print quality is uneven because the rare photo originals from the Jorifin collection were not handled directly but photographed for transfer to the book. Nevertheless, the portraits which don't have that unhappy, photostat look are very sharp indeed, and the comprehensiveness of the volume will be appreciated. HORSES IN THE MOVIES, by H. F. Hintz (Barnes, $15). The author separates the cowboy's best friend into three distinct circles: "superstars" such as Fritz (ridden by William S. Hart), Silver (The Lone Ranger), Trigger (Roy Rogers); "stars" such as Buttermilk (Dale Evans) and Duke (John Wayne); and "versatiles" such as Anna (Rudolph Valentino) and Butterfly (Mack Sennett). There is a biographical note for each, describing their training and special talents and, in some cases, their love lives. An edifying section on films about horses follows. The writing is well-intentioned and homey, and the book is difficult to resist. THE FUNSTERS, by James Robert Parish and William T. Leonard (Arlington House, $30). The only problem with this weighty, bulky volume on movie comedians, besides the unfortunate title, is that when reading it in bed it has a tendency to cave in your chest. The indefatigable James Robert Parish, who has written or collaborated on dozens of entertainment reference books, concentrates here on 65 comic favorites including Woody Allen, Lucille Ball, Joan Davis, W. C. Fields, Danny Kaye and Martha Raye, as well as teams like Martin and Lewis, The Three Stooges, and George Burns and Gracie Allen. The lengthy biographies are appreciative, not critical, and don't exactly tax the mind, but neither do most of these comedians, who allow us to escape from it all, too. HORROR IN THE CINEMA, by Ivan Butler (Barners, $15). There are a couple of charming photos of buxom women displaying vampire fangs, a witty shot of rats sprawling about Ernest Borgnine, pictures of depraved monsters usually displaying an overabundance of emotion and chest hair. However, it is not the author's intention to exploit the horror film with a bulk of visual thrills. This is the third edition of the pioneering work in the horror field, which is now updated to include recent films such as Carrie, The Omen and The Exorcist. The book is an astute mixture of film stills and essays. The Frankenstein series, the Val Lewton cycle, Roman Polanski's Rosemary's Baby and Repulsion and others are studied in depth. The final third of the book is an annotated list of films, in chronological order, many with valuable critical descriptions.