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Foreword Acknowledgments Part I: 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 Blocks Narrative 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 Visualization Looking 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 II: 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 Pie Breaking 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 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 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? An Audience and a Big Screen Part III: Learning the Craft through Film Analysis Chapter 13: Alfred Hitchcock's Notorious 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 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 16: Styles and Dramatic Structures Tokyo Story, Yasujiro Ozu (1935, Japan) Some Like It Hot, Billy Wilder (1959, USA) 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, USA) The Thin Red Line, Terrence Malick (1998, USA) Chapter 17: What Next? 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 Directing Exercises Make A Piece of Apple Pie Your Own Conclusion Bibliography Index
Library of Congress Subject Headings for this publication:
Motion pictures -- Production and direction.