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| What Is a Movie? | |
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| Learning Objectives | |
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| Looking at Movies | |
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| Form and Content | |
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| Form and Expectations | |
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| Patterns | |
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| Principles of Film Form | |
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| Movies Manipulate Space and Time in Unique Ways | |
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| Movies Depend on Light | |
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| Photography | |
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| Series Photography | |
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| Motion Picture Photography | |
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| Movies Provide an Illusion of Movement | |
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| Realism and Antirealism | |
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| Verisimilitude | |
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| Cinematic Language | |
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| Types of Movies | |
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| Narrative Films | |
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| Genre | |
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| Nonfiction Films | |
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| Animated Films | |
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| Experimental Films | |
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| Summary: What Is a Movie? | |
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| Analyzing Movies | |
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| Screening Checklist: What Is a Movie? | |
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| Questions for Review | |
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| Movies Described or Illustrated in This Chapter | |
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| Narrative | |
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| Learning Objectives | |
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| What Is Narrative? | |
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| The Screenwriter | |
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| Evolution of a Typical Screenplay | |
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| Elements of Narrative | |
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| Story and Plot | |
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| Order | |
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| Events: Hubs and Satellites | |
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| Duration | |
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| Suspense Versus Surprise | |
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| Repetition | |
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| Characters | |
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| Setting | |
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| Scope | |
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| Narration and Narrators | |
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| Looking at Narrative: John Ford 's Stagecoach | |
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| Story | |
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| Plot | |
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| Order | |
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| Diegetic and Nondiegetic Elements | |
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| Hubs and Satellites | |
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| Duration | |
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| Suspense | |
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| Repetition | |
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| Characters | |
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| Setting | |
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| Scope | |
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| Narration | |
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| Analyzing Narrative | |
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| Screening Checklist: Narrative | |
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| Questions for Review | |
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| Movies Described or Illustrated in This Chapter | |
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| Mise-en-Sc�ne | |
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| Learning Objectives | |
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| What Is Mise-en-Sc�ne? | |
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| Design | |
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| The Production Designer | |
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| Elements of Design | |
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| Setting, D�cor, and Properties | |
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| Lighting | |
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| Costume, Makeup, and Hairstyle | |
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| International Styles of Design | |
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| Composition | |
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| Framing: What We See on the Screen | |
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| Onscreen and Offscreen Space | |
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| Open and Closed Framing | |
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| Kinesis: What Moves on the Screen | |
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| Movement of Figures Within the Frame | |
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| Looking at Mise-en-Sc�ne | |
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| Tim Burton 's Sleepy Hollow | |
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| Sam Mendes 's American Beauty | |
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| Michael Almereyda 's Hamlet | |
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| Analyzing Mise-en-Sc�ne | |
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| Screening Checklist: Mise-en-Sc�ne | |
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| Questions for Review | |
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| Movies Described or Illustrated in This Chapter | |
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| Cinematography | |
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| Learning Objectives | |
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| What Is Cinematography? | |
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| The Director of Photography | |
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| Cinematographic Properties of the Shot | |
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| Film Stock | |
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| Black and White | |
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| Color | |
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| Lighting | |
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| Source | |
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| Quality | |
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| Direction | |
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| Style | |
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| Lenses | |
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| Framing of the Shot | |
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| Proximity to the Camera | |
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| Depth | |
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| Camera Angle and Height | |
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| Eye Level | |
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| High Angle | |
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| Low Angle | |
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| Dutch Angle | |
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| Aerial View | |
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| Scale | |
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| Camera Movement | |
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| Pan Shot | |
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| Tilt Shot | |
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| Dolly Shot | |
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| Zoom | |
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| Crane Shot | |
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| Handheld Camera | |
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| Steadicam | |
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| Framing and Point of View | |
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| Speed and Length of the Shot | |
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| Special Effects | |
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| In-Camera, Mechanical, and Laboratory Effects | |
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| Computer-Generated Imagery | |
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| Analyzing Cinematography | |
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| Screening Checklist: Cinematography | |
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| Questions for Review | |
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| Movie | |