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| Preface | |
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| The Art of Watching Films The Uniqueness of Film | |
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| The Challenges of Film Analysis | |
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| The Value of Film Analysis Becoming a Receptive Viewer | |
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| The Film - Viewing Environment | |
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| Preparing to See a Film Deepening Our Responses to Films | |
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| Questions for Analyzing Your Responses to a Film | |
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| Thematic Elements Theme and Focus | |
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| Focus on Plot | |
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| Focus on Emotional Effect or Mood | |
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| Focus on Character | |
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| Focus on Style or Texture or Structure | |
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| Focus on Ideas Identifying the Theme | |
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| Evaluating the Theme | |
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| Questions for Analyzing Theme | |
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| Video Exercises | |
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| Films for Study | |
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| Fictional and Dramatic Elements | |
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| Film Analysis and Literary Analysis | |
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| The Elements of a Good Story | |
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| A Good Story Is Unified in Plot | |
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| A Good Story Is Credible | |
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| A Good Story Is Interesting | |
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| A Good Story Is Both Simple and Complex | |
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| A Good Story Handles Emotional Material with Restraint | |
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| The Significance of the Title Dramatic Structure Linear, or Chronological, Structure Nonlinear | |
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| Structures Endings: Fine-Tuning the D�nouement Conflict Characterization | |
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| Characterization through Appearance | |
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| Characterization through Dialogue | |
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| Characterization through External Action | |
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| Characterization through Internal Action | |
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| Characterization through Reactions of Other Characters | |
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| Characterization through Contrast: Dramatic Foils | |
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| Characterization through Caricature and Leitmotif | |
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| Characterization through Choice of Name Varieties of Characters | |
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| Allegory Symbolism Universal and Natural Symbols | |
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| Creating Symbolic Meanings Symbolic Patterns and Progressions | |
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| Symbolic Values in Conflict Metaphors Overreading | |
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| Symbolism Irony | |
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| Dramatic Irony | |
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| Irony of Situation | |
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| Irony of Character | |
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| Irony of Setting | |
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| Irony of Tone | |
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| Cosmic Irony | |
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| Questions for Analyzing Fictional and Dramatic Elements | |
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| Video Exercises | |
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| Mini-Movie Exercise | |
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| DVD Film making | |
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| Extras Films for Study | |
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| Visual Design Color Versus Black and White Screen Format (Aspect Ratio) | |
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| Film Stock Production Design/Art Direction | |
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| The Script: The Starting Point Setting and Its Effects Studio Versus Location | |
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| Shooting Period Pieces | |
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| Living Spaces and Offices | |
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| Fantasy Worlds Costume and Makeup Design Lighting | |
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| The Budget’s Effect on the Film’s Look | |
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| Questions for Analyzing Visual Design | |
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| Video Exercises | |
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| Mini-Movie Exercise | |
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| DVD Filmmaking | |
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| Extras Films for Study | |
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| Cinematography | |
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| The Importance of the Visual Image | |
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| The Cinematic Film | |
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| Cinematic Points of View | |
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| Objective Point of View | |
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| Subjective Point of View | |
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| Indirect-Subjective Point of View | |
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| Director’s Interpretive Point of View | |
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| Elements of Cinematic Composition | |
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| Focusing Attention on the Most Significant Object Keeping the Image in Motion | |
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| Creating an Illusion of Depth Specialized Cinematic Effects | |
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| Handheld Camera | |
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| Camera Angles Color, Diffusion, and Soft Focus | |
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| Special Lenses | |
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| Fast Motion | |
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| Special Lighting Effects | |
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| Movie Magic: Visual Effects in the Modern Film | |
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| The FX of Animated Feature Films…Especially for Adults | |
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| Flashback: Animation Becomes the Main Event | |
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| Questions for Analyzing Cinematography and Special Visual Effects | |
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| Video Exercises | |
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| Mini-Movie Exercise: Cinematography Mini-Movie E | |