http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
"This book reveals the filmmaker's art, principles, methods, and approaches for a range of readers: the student filmmaker; practicing filmmaker; student or scholar of film studies, theory, or history; and the student of media studies or scholar of arts programs, together with the informed cinephile. It conveys pragmatic information on the decision-making processes of film (and by inference all media) creators historically and in present practice, offering the reader highly informed textual analyses of specific films in order to explain the how and why of cinematic decision-making. The importance of practical aesthetics is proven in the clearly identified, detailed, and examined discussion of the decision-making that is involved in the creation of films, with carefully constructed and specific examples provided, the choice of recent films for analysis being a key element. Additional reference to classic films supports the book's assertion that filmic planning and decision-making is a process that reflects an understanding and embracing of decades of cinematic practice along with the employment of continually evolving strategies reflecting technological change. Incorporating the author's experience as a filmmaker, filmmaking educator, and film viewer, and considering cinematic language in the broad context of language, the book shows how the filmmaker's art involves the conjuring and capture of the film's fiction (story, characters, world), its representation on the screen, and the address to the audience through the practical aesthetics this constitutes—information, emotion (most importantly), and physical sensation are the constituent aspects of its engagement"--Publisher's description.
Cover -- The Art of the Filmmaker -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Part I: Perspectives -- 1 Appreciating the Art of the Filmmaker -- 2 Language and Cinema -- What Is the Language of Film? -- Cinematic Language as Theft -- 3 The Five Domains in Which a Film "Comes to Life" -- The Fiction That Plays Out in the Domain "beyond" the Screen -- The Planarity of the Screen -- The "Screen of the Mind" -- The Hearts, Minds, and Guts of the Audience -- The Memory of the Audience -- A Note on Screenplays -- 4 The Five Tasks of the Filmmaker
The Communication of Information -- The Evocation of Emotion -- The Stimulation of Visceral/​Tactile/​Neural Sensation -- The Expression of a Creative Vision -- Telling the Story -- The "Two Vectors" of the Filmmaker -- Part II: Criteria -- 5 Dramatic Narrative -- Story: The Spine of Dramatic Narrative -- Structure in Film: The Architecture of Dramatic Narrative -- Narrative Units: The Building Blocks of Dramatic Narrative -- Characters: The Action and Emotion of Dramatic Narrative -- World in Film: The Environment of Dramatic Narrative -- A Note on Dramatic Narrative Modified through Process
6 The Elements in Front of the Lens -- Sets and Locations -- Actors and Staging -- Performance -- Props and Equipment -- 7 Screen Language -- Visual Language and Meaning -- Color -- Eye Trace -- Uninflected versus Inflected Cinematic Language -- The Image -- Visual Language and Style -- 8 The Shot -- Composition and Mise en Scène -- Selection -- Establishing Shots and Masters -- Subject -- Size -- Framing -- 9 Camera -- Camera Placement and Angle -- Frontal Angles -- Profiles and Half-​Profiles -- The Back Shot -- The Raking Angle -- Top Shots -- The Dutched Angle
Angles on the Axis of the Drama -- Camera Height and Character Eye Level -- Camera Movement -- Lensing -- 10 Editing: The Nature of Cuts and Transitions -- The Art of the Editor -- Narrative POV -- The Cut -- Modulation of Space and Time -- Transitions -- 11 Sound and Music in Relation to the Screen -- Sound -- Verisimilitude -- The Screen of the Mind -- Eye Trace -- Narrative POV -- Subliminal Messaging -- Tonal Dissonance and Irony -- Register -- Immersive Experience -- Silence -- Music -- Verisimilitude -- Narrative POV and Subliminal Messaging -- Tonal Dissonance and Irony -- Register
Immersive Experience -- 12 Reading the Screenplay -- Part III: The Case Studies -- The Three Filmmakers -- Ari Aster: Hereditary -- Hereditary: The Prelude -- Hereditary: The Dinner -- Hereditary: The Family Séance -- Barry Jenkins: Moonlight -- Moonlight: Announcing Little -- Moonlight: Announcing Chiron -- Moonlight: Announcing Black -- Chloe Zhao: Nomadland -- Nomadland: Empire-​Opening and Ending -- Nomadland: Storytelling from Life and by the Filmmaker -- Resonance from Nature -- Nomadland: Fern and Dave-​Invitation and Departure -- Conclusion -- Glossary of Shot Abbreviations
Includes bibliographical references, filmography, and index.
New York, NY, United States of America : Oxford University Press, [2023]