| |
| |
| Preface | |
| |
| |
| |
| Cinema Art, Film Technology, and the Movie Industry | |
| |
| |
| The Magic of Movies | |
| |
| |
| The Move Environment | |
| |
| |
| Film Literacy | |
| |
| |
| Movies as Mirrors | |
| |
| |
| Movies as Myth | |
| |
| |
| A Team Act | |
| |
| |
| But is it Art?. Background: The Old Hollywood | |
| |
| |
| The Business of Moviemaking Today | |
| |
| |
| Summary | |
| |
| |
| The Producer: Gail Katz Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Though Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| The Preproduction Phase | |
| |
| |
| |
| The Script | |
| |
| |
| The Role of the Screenwriter | |
| |
| |
| The Work of the Screenwriter | |
| |
| |
| The Mechanics of Script Writing: Designing the Scene | |
| |
| |
| Screenplay Structure | |
| |
| |
| The Nature of Story Conflict | |
| |
| |
| Characterization | |
| |
| |
| Dialogue | |
| |
| |
| Finding the Theme | |
| |
| |
| Film Genre | |
| |
| |
| Story Sources: The Differing Codes of Cinema and Literature | |
| |
| |
| Writing Considerations: Finding the Voice | |
| |
| |
| Points of View | |
| |
| |
| The Influence of the Director | |
| |
| |
| Summary | |
| |
| |
| The Screenwriter: Buck Henry Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises Relating to Screenwriting | |
| |
| |
| Further Reading | |
| |
| |
| |
| The Look | |
| |
| |
| The World of the Movie | |
| |
| |
| Background: The Sophistication of Design | |
| |
| |
| The Work of the Production Designer | |
| |
| |
| Starting Off | |
| |
| |
| The Design Team | |
| |
| |
| Design Environments | |
| |
| |
| Shooting Sites | |
| |
| |
| Delineating Characters | |
| |
| |
| Designing with Color | |
| |
| |
| A Case Study: The Rocketeer | |
| |
| |
| Summary | |
| |
| |
| The Production Designer: Patricia Norris Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises Relating to Production Design | |
| |
| |
| Further Reading | |
| |
| |
| |
| Casting the Performers | |
| |
| |
| The Criteria | |
| |
| |
| Background: The Star System | |
| |
| |
| Story-Driven vs | |
| |
| |
| Star-Driven Movies | |
| |
| |
| What Makes a Star? Casting Against Type | |
| |
| |
| Casting Support Roles | |
| |
| |
| The Demands of Acting | |
| |
| |
| Types of Acting Styles | |
| |
| |
| Finding the Character | |
| |
| |
| Playing the Scene | |
| |
| |
| Text and Subtext | |
| |
| |
| Case Study: Fatal Attraction | |
| |
| |
| The Restaurant Scene | |
| |
| |
| Summary | |
| |
| |
| The Casting Director: Pam Dixon Mickelson Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| The Principle Photography Stage | |
| |
| |
| |
| The Director | |
| |
| |
| The Art of Storytelling on Film | |
| |
| |
| Background: The Rise of the Auteur | |
| |
| |
| The Work of Directing | |
| |
| |
| Styles of Directing | |
| |
| |
| Resumes of Current Directors | |
| |
| |
| The Impact of International Directors | |
| |
| |
| Auteurs Working in American Movies Today | |
| |
| |
| Summary | |
| |
| |
| The Director: Vondie Curtis-Hall Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| The Art of Technique | |
| |
| |
| On the Set | |
| |
| |
| The Nature of a Shot | |
| |
| |
| Shot Characteristics | |
| |
| |
| Frame Composition | |
| |
| |
| Reading the Frame | |
| |
| |
| A Fundamental Shot Series | |
| |
| |
| Camera Movement | |
| |
| |
| Special Effects: Sandra Ford Karpman Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| The Cinematographer | |
| |
| |
| Making Pictures | |
| |
| |
| Background: The Evolving Art of Cinematography | |
| |
| |
| Working with Directors | |
| |
| |
| The Cameras | |
| |
| |
| Lighting | |
| |
| |
| Aesthetics of the Camera | |
| |
| |
| Color | |
| |
| |
| A Case Study: Don't Look Now | |
| |
| |
| Summary | |
| |
| |
| The Cinematographer: Bill Pope Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| III | |
| |
| |
| |
| The Editor | |
| |
| |
| The Art of Editing | |
| |
| |
| The Central Role of Editing | |
| |
| |
| Background: The Art of Editing Evolves | |
| |
| |
| The Director/Editor Relationship | |
| |
| |
| The Skills of Editing | |
| |
| |
| The Aesthetics of Editing | |
| |
| |
| Editing Movement | |
| |
| |
| Editing Endings | |
| |
| |
| The Work of Editing | |
| |
| |
| Summary | |
| |
| |
| The Editor: Carol Littleton Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| Sound Design | |
| |
| |
| The Nature of Sound in Film | |
| |
| |
| Background: The Changing Technology of Film Sound | |
| |
| |
| The Uses of Sound in Movies | |
| |
| |
| The Spoken Word | |
| |
| |
| Music | |
| |
| |
| The Stages of Music Production for Film | |
| |
| |
| Aesthetics of Film Music | |
| |
| |
| Sound Effects | |
| |
| |
| The Final Mix | |
| |
| |
| Summary | |
| |
| |
| The Composer: Mark Isham Interview | |
| |
| |
| Films to Consider | |
| |
| |
| Thought Questions and Exercises | |
| |
| |
| Further Reading | |
| |
| |
| |
| Marketing and Distribution | |
| |
| |
| Finding the Audience | |
| |
| |
| Patterns of Movie Distribution | |
| |
| |
| The Major Distributors: Mainline Hollywood | |
| |
| |
| Marketing Research | |
| |
| |
| Bac | |