| Description |
1 online resource : illustrations |
| Contents |
Cover -- The Art of the Filmmaker -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Part I: Perspectives -- 1 Appreciating the Art of the Filmmaker -- 2 Language and Cinema -- What Is the Language of Film? -- Cinematic Language as Theft -- 3 The Five Domains in Which a Film "Comes to Life" -- The Fiction That Plays Out in the Domain "beyond" the Screen -- The Planarity of the Screen -- The "Screen of the Mind" -- The Hearts, Minds, and Guts of the Audience -- The Memory of the Audience -- A Note on Screenplays -- 4 The Five Tasks of the Filmmaker |
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The Communication of Information -- The Evocation of Emotion -- The Stimulation of Visceral/Tactile/Neural Sensation -- The Expression of a Creative Vision -- Telling the Story -- The "Two Vectors" of the Filmmaker -- Part II: Criteria -- 5 Dramatic Narrative -- Story: The Spine of Dramatic Narrative -- Structure in Film: The Architecture of Dramatic Narrative -- Narrative Units: The Building Blocks of Dramatic Narrative -- Characters: The Action and Emotion of Dramatic Narrative -- World in Film: The Environment of Dramatic Narrative -- A Note on Dramatic Narrative Modified through Process |
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6 The Elements in Front of the Lens -- Sets and Locations -- Actors and Staging -- Performance -- Props and Equipment -- 7 Screen Language -- Visual Language and Meaning -- Color -- Eye Trace -- Uninflected versus Inflected Cinematic Language -- The Image -- Visual Language and Style -- 8 The Shot -- Composition and Mise en Scène -- Selection -- Establishing Shots and Masters -- Subject -- Size -- Framing -- 9 Camera -- Camera Placement and Angle -- Frontal Angles -- Profiles and Half-Profiles -- The Back Shot -- The Raking Angle -- Top Shots -- The Dutched Angle |
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Angles on the Axis of the Drama -- Camera Height and Character Eye Level -- Camera Movement -- Lensing -- 10 Editing: The Nature of Cuts and Transitions -- The Art of the Editor -- Narrative POV -- The Cut -- Modulation of Space and Time -- Transitions -- 11 Sound and Music in Relation to the Screen -- Sound -- Verisimilitude -- The Screen of the Mind -- Eye Trace -- Narrative POV -- Subliminal Messaging -- Tonal Dissonance and Irony -- Register -- Immersive Experience -- Silence -- Music -- Verisimilitude -- Narrative POV and Subliminal Messaging -- Tonal Dissonance and Irony -- Register |
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Immersive Experience -- 12 Reading the Screenplay -- Part III: The Case Studies -- The Three Filmmakers -- Ari Aster: Hereditary -- Hereditary: The Prelude -- Hereditary: The Dinner -- Hereditary: The Family Séance -- Barry Jenkins: Moonlight -- Moonlight: Announcing Little -- Moonlight: Announcing Chiron -- Moonlight: Announcing Black -- Chloe Zhao: Nomadland -- Nomadland: Empire-Opening and Ending -- Nomadland: Storytelling from Life and by the Filmmaker -- Resonance from Nature -- Nomadland: Fern and Dave-Invitation and Departure -- Conclusion -- Glossary of Shot Abbreviations |
| Summary |
The Art of the Filmmaker: The Practical Aesthetics of the Screen explores the filmmaker's intention and method, their creation and capture of the fiction on the screen, and their formulation of the elements of the frame as a designed address to the audience. Written in accessible language and generously illustrated with film stills |
| Notes |
Also issued in print: 2023 |
| Bibliography |
Includes bibliographical references and index |
| Audience |
Specialized |
| Notes |
Description based on online resource and publisher information; title from PDF title page (viewed on September 11, 2023) |
| Subject |
Motion pictures -- Aesthetics.
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Motion pictures -- Aesthetics
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| Form |
Electronic book
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| ISBN |
9780197631560 |
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0197631568 |
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9780197631546 |
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0197631541 |
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