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, this book is essential reading for film students and practitioners alike.
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, this book is essential reading for film students and practitioners alike.
After a career in production with BBC TV Drama and Films, working with filmmakers such as Anthony Minghella and Martin Scorsese, and directing in Film and TV, Peter Markham was head of the MFA directing program at the AFI Conservatory, Los Angeles. He has taught in Beijing and Shanghai, been a lead instructor with Sundance Collab, and is a consultant and educator in creative filmmaking. He is the author of What's the Story? The Director Meets Their Screenplay: An Essential Guide for Directors and Writer-Directors (2020).
Inhaltsangabe
* Acknowledgments * Introduction * PART ONE: PERSPECTIVES * CHAPTER ONE Appreciating the Art of The Filmmaker. * CHAPTER TWO Language and Cinema. * Definitions of Language Visual vs. Pictorial Films Cinematic Language as Theft. * CHAPTER THREE The 'Five Domains in Which a Film 'Comes to Life.'' * The Fiction The Screen The 'Screen of the Mind' The Audience (Heart Mind Guts) Audience Memory. * CHAPTER FOUR The 'Five Tasks' of the Filmmaker. * Information Emotion Visceral/Tactile/Neural Sensation Vision Storytelling. * The 'Two Vectors' of the Filmmaker * PART TWO: CRITERIA * CHAPTER FIVE Dramatic Narrative. * Story Structure 'Narrative Units' Characters World. * CHAPTER SIX The Elements Before the Lens. * Sets and Locations Actors and Staging Performance Props and Equipment. * CHAPTER SEVEN Screen Language. * Grammar and Language Visual Language-Meaning through Use vs. Meaning inherent in the Language Ikones Color Eye Trace Uninflected vs. Inflected Cinematic Language The Image Visual Language and Style. * CHAPTER EIGHT The Shot. * Composition and Mise-en-Scène Aspect Ratio Selection Establishing Shots and Masters Subject Size Framing. * CHAPTER NINE Camera. * Camera as Concept Placement and Angle (Frontal Profiles and Half-Profiles Back Shots Raking Angles Top Shots 'Dutched' Angles Angles on the Axis of the Drama) Camera Movement (x- y- z-axes Editing in Camera Narrative Moves Descriptive Moves Pivots) Lensing (Depth of Field Wide Neutral Long Spherical Anamorphic Modulation of Space). * CHAPTER TEN Editing: the Nature of Cuts and Transitions. * Editorial Art Walter Murch's Criteria for Making the Cut Narrative Point of View Modulation of Time and Space Transitions. * CHAPTER ELEVEN Sound Music and the Screen. * Sound: Verisimilitude The 'Screen of the Mind' Narrative Point of View Subliminal Messaging Tonal Dissonance and Irony Register Immersive Experience Silence. * Music: Diegetic Non-diegetic Verisimilitude Narrative POV and Subliminal Messaging Tonal Dissonance and Irony Register Immersive Experience. * CHAPTER TWELVE Reading the Screenplay. * PART THREE: THE ART OF THE FILMMAKER: THE CASE STUDIES * The Filmmakers * Ari Aster: Hereditary * The Prelude * The Dinner Scene * The Family Séance * Barry Jenkins: Moonlight * Announcing Little * Announcing Chiron * Announcing Black * Chloe Zhao: Nomadland * Empire-Opening and Ending * Storytelling from Life from the Filmmaker Resonance from Nature * Fern and Dave-Invitation and Departure * CONCLUSION * Glossary of Abbreviations * Bibliography * Filmography * Index
* Acknowledgments * Introduction * PART ONE: PERSPECTIVES * CHAPTER ONE Appreciating the Art of The Filmmaker. * CHAPTER TWO Language and Cinema. * Definitions of Language Visual vs. Pictorial Films Cinematic Language as Theft. * CHAPTER THREE The 'Five Domains in Which a Film 'Comes to Life.'' * The Fiction The Screen The 'Screen of the Mind' The Audience (Heart Mind Guts) Audience Memory. * CHAPTER FOUR The 'Five Tasks' of the Filmmaker. * Information Emotion Visceral/Tactile/Neural Sensation Vision Storytelling. * The 'Two Vectors' of the Filmmaker * PART TWO: CRITERIA * CHAPTER FIVE Dramatic Narrative. * Story Structure 'Narrative Units' Characters World. * CHAPTER SIX The Elements Before the Lens. * Sets and Locations Actors and Staging Performance Props and Equipment. * CHAPTER SEVEN Screen Language. * Grammar and Language Visual Language-Meaning through Use vs. Meaning inherent in the Language Ikones Color Eye Trace Uninflected vs. Inflected Cinematic Language The Image Visual Language and Style. * CHAPTER EIGHT The Shot. * Composition and Mise-en-Scène Aspect Ratio Selection Establishing Shots and Masters Subject Size Framing. * CHAPTER NINE Camera. * Camera as Concept Placement and Angle (Frontal Profiles and Half-Profiles Back Shots Raking Angles Top Shots 'Dutched' Angles Angles on the Axis of the Drama) Camera Movement (x- y- z-axes Editing in Camera Narrative Moves Descriptive Moves Pivots) Lensing (Depth of Field Wide Neutral Long Spherical Anamorphic Modulation of Space). * CHAPTER TEN Editing: the Nature of Cuts and Transitions. * Editorial Art Walter Murch's Criteria for Making the Cut Narrative Point of View Modulation of Time and Space Transitions. * CHAPTER ELEVEN Sound Music and the Screen. * Sound: Verisimilitude The 'Screen of the Mind' Narrative Point of View Subliminal Messaging Tonal Dissonance and Irony Register Immersive Experience Silence. * Music: Diegetic Non-diegetic Verisimilitude Narrative POV and Subliminal Messaging Tonal Dissonance and Irony Register Immersive Experience. * CHAPTER TWELVE Reading the Screenplay. * PART THREE: THE ART OF THE FILMMAKER: THE CASE STUDIES * The Filmmakers * Ari Aster: Hereditary * The Prelude * The Dinner Scene * The Family Séance * Barry Jenkins: Moonlight * Announcing Little * Announcing Chiron * Announcing Black * Chloe Zhao: Nomadland * Empire-Opening and Ending * Storytelling from Life from the Filmmaker Resonance from Nature * Fern and Dave-Invitation and Departure * CONCLUSION * Glossary of Abbreviations * Bibliography * Filmography * Index
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