المحتويات / النص
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Foreword
Acknowledgements
Introduction
Part One
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 Image
Chapter 2
Introduction to the Dramatic Elements Embedded in the Screenplay
Spine
Whose film is it?
Character
Circumstance
Dynamic Relationship
Wants
Expectations
Actions
Activity
Acting Beats
Dramatic Blocks
Narrative Beats
Fulcrum
Chapter 3
Organizing Action in a Dramatic Scene
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
Camera
The Camera as Narrator
Reveal
Entrances
Objective Camera
Subjective Camera
Where Do I Put It?
Visual Design
Style
Coverage
Camera Height
Lenses
Composition
Where To Begin?
Working Toward Specificity in Visualization
Looking for Order
Dramatic Blocks and Camera
Shot List, Storyboards, and Camera Setups
The Prose Storyboard
Chapter 6
Camera in NOTORIOUS Patio Scene
Part Two
Making Your Film
Chapter 7
Detective Work On Scripts
Reading Your Screenplay
The Piece of Apple Pie Screenplay
Whose Film Is It?
Character
Circumstance
Spines for The Piece Of Apple Pie
Dynamic Relationships
Wants
Actions
Acting Beats
Activity
Tone for The Piece Of Apple Pie
Breaking The Piece Of Apple Pie Into Actions
Designing a Scene
Visualization
Identifying the Fulcrum and Dramatic Blocks
Supplying Narrative Beats to The Piece Of Apple Pie
Director?s Notebook
Chapter 8
Staging and Camera For The Piece Of Apple Pie
Staging The Piece Of Apple Pie
Camera for The Piece Of Apple Pie
Chapter 9
Marking Shooting Script With Camera Setups
Chapter 10
Work 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 Producer
The 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?
Part Three
Organizing Action in an Action Scene
Chapter 13
Staging and Camera for Over Easy Action Scene
Part Four
Organizing Action in a Narrative Scene
Chapter 14
Staging and Camera for Wanda Narrative Scene
Part Five
Learning the Craft Through Film Analysis
Chapter 15
Alfred Hitchcock?s Notorious
Overview of Style and Design
First Act
Second Act
Third Act
Summary
Chapter 16
Peter Weir?s The Truman Show
Overview of Style and Design
First Act
Second Act
Third Act
Summary
Chapter 17
Federico Fellini?s 8 1/2
A Masterpiece?
The Director as Auteur
Dramatic Construction
Overview of Style and Design
What Are We Watching for in This Film?
Detective Work
First Act
Second Act
Third Act
Summary
Chapter 18
Styles And Dramatic Structures
Style
Narrative, Dramatic, and Poetic Visual Styles
The Variety of Dramatic Structures
Tokyo Story, Yasujiro Ozu (1935, Japan)
Some Like It Hot, Billy Wilder (1959)
The Battle of Algiers, Gillo Pontecorvo (1965, France)
Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland)
sex, lies and videotape, Steven Soderbergh (1989)
Shall We Dance, Masayuki Suo (1996, Japan)
The Celebration, Thomas Vinterberg (1998, Denmark)
The Insider, Michael Mann (1999)
The Thin Red Line, Terrence Malick (1998)
In the Mood for Love, (Kar-wai Wong , 2001, Chinese)
Little Children (Todd Field, 2006)
Chapter 19
What Next?
Building Directorial Muscles
Writing For The Director
Begin Thinking About Your Story
Concocting Your Feature Screenplay
?Writing? Scenes With Actors
Shooting Your Film Before You Finish Writing It
The Final Script
Shooting Without A Screenplay?
Questions Directors Should Ask
About Their Screenplays
Building Directorial Muscles
Conclusion
Index
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