The art of the filmmaker : the practical aesthetics of the screen /
"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...
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| Format: | eBook |
| Language: | English |
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New York, NY :
Oxford University Press,
[2023]
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| Subjects: | |
| Online Access: | Connect to the full text of this electronic book |
Table of Contents:
- 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