Film directing fundamentals see your film before shooting
Unique among directing books, Film Directing Fundamentals provides a clear-cut methodology for translating a script to the screen. Using the script as a blueprint, Proferes leads the reader through specific techniques to analyze and translate its components into a visual story. A sample screenplay i...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Focal Press
c2005.
|
| Edición: | 2nd ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627429606719 |
Tabla de Contenidos:
- Front Cover; Film Directing Fundamentals; Copyright Page; Contents; Foreword; Acknowledgments; Part One: Learning How to Draw; Chapter 1.Introduction to Film Language and Grammar; The Film World; Film Language; Shots; Film Grammar; The 180-Degree Rule; The 30-Degree Rule; Screen Direction; Film Time; Compression; Elaboration; Familiar Images; Chapter 2.Introduction to the Dramatic Elements Embedded in the Screenplay; Spines; Whose Film Is It?; Character; Circumstance; Dynamic Relationships; Wants; Expectations; Actions; Activity; Acting Beats; Chapter 3.Organizing Action in a Dramatic Scene
- Dramatic BlocksNarrative Beats; The Fulcrum; Dramatic Elements in Notorious Patio Scene; Notorious Patio Scene Annotated; Chapter 4.Staging; Main Functions; Patterns of Dramatic Movement; Changing the Stage Within a Scene; Staging as Part of a Film's Design; Working with a Location Floor Plan; Floor Plan and Staging for Notorious Patio Scene; Chapter 5.The Camera; The Camera as Narrator; The Reveal; Entrances; The Objective Camera; The Subjective Camera; Where Do I Put It?; Visual Design; Style; Coverage; Camera Height; Lenses; Composition; Where to Begin?
- Working Toward Specificity in VisualizationLooking for Order; Dramatic Blocks and the Camera; Shot Lists and Storyboards; The Prose Storyboard; Chapter 6.Camera in Notorious Patio Scene; First Dramatic Block; Second Dramatic Block; Third Dramatic Block; Fourth Dramatic Block and Fulcrum; Fifth Dramatic Block; Part Two: Making Your Film; Chapter 7. Detective Work on Scripts; Reading Your Screenplay; A Piece of Apple Pie Screenplay; Whose Film Is It?; Character; Circumstance; Spines for a Piece of Apple Pie; Dynamic Relationships; Wants; Actions; Acting Beats; Activity
- Tone for a Piece of Apple PieBreaking a Piece of Apple Pie into Actions; Designing a Scene; Visualization; Identifying the Fulcrum and Dramatic Blocks; Supplying Narrative Beats to a Piece of Apple Pie; Director's Notebook; Chapter 8. Staging and Camera for a Piece of Apple Pie; Staging; Camera; Conclusions; Chapter 9. Marking Shooting Scripts with Camera Setups; Chapter 10. Working with Actors; Casting; First Read-through; Directing During Rehearsals; Directing Actors on the Set; Chapter 11. Managerial Responsibilities of the Director; Delegating Authority While Accepting Responsibility
- The ProducerThe Assistant Director; A Realistic Shooting Schedule; Working with the Crew; Working with the Director of Photography; Chapter 12. Postproduction; Editing; Music and Sound; Locking Picture, or How Do You Know When It's Over?; An Audience and a Big Screen; Part Three: Learning the Craft Through Film Analysis; Chapter 13. Alfred Hitchcock's; Overview of Style and Design; First Act; Second Act; Third Act; Summary; Chapter 14. Peter Weir's the Truman Show; Overview of Style and Design; First Act; Second Act; Third Act; Summary; Chapter 15. Federico Fellini's 8-1/2; A Masterpiece?
- The Director as Auteur
