THE ART OF WATCHING FILMS

Basic Information

Title

THE ART OF WATCHING FILMS

Subtitle

-

Parallel Title

-

Country

국외

Production Date

1978-**-**

Language

영어

Size (mm)

157 x 235

Pages

291쪽

ISBN/ISSN

0805309705

Edition

-

Master Files

-

Producer

Joseph M. Boggs (저자), BENJAMIN/CUMMINGS PUBLISHING COMPANY (발행처)

Description

-

Contents

Contents

1 INTRODUCTION = 1 The Struggle for Serious Recognition = 1 The Unique Properties and Potential of Film = 3 Difficulties of Film Analysis = 6 Why Analyze Films? = 6 The Analytical Approach = 8 2 THEME AND PURPOSE = 11 Double Viewing = 11 Determining the Theme = 11 Basic Types of Film Themes = 12 Plot as theme = 12 Emotional effect or mood as theme = 13 Character as theme = 13 Idea as theme = 13 Evaluating the Theme = 16 Questions on Theme and Purpose = 17 3 STANDARD FICTIONAL AND DRAMATIC ELEMENTS = 19 Film and Literary Analysis = 19 The Elements of a Good Story = 20 Unity in plot or story line = 20 Believability = 21 Interest = 23 Suspense = 24 Action = 25 Simplicity and complexity = 25 Restraint in handling emotional material = 27 Questions on Story Elements = 28 Dramatic Structure = 29 Questions on Dramatic Structure = 32 Symbolism = 32 Universal and natural symbols = 33 Creating symbolic meanings = 34 Symbolic patterns and progressions = 38 Allegory = 40 Complex or ambiguous symbols = 41 Similes = 41 Questions on Symbolism = 42 Characterization = 43 Characterization by appearance = 44 Characterization through dialogue = 44 Characterization through external action = 44 Characterization through internal action = 45 Characterization by reactions of other characters = 47 Characterization by contrast: dramatic foils = 48 Characterization by exaggeration or repetition: caricature and leitmotif = 48 Characterization through choice of name: name-typing = 50 Stock characters and stereotypes = 51 Static and developing characters = 51 Flat and round characters = 52 Questions on Characterization = 52 Conflict = 53 Types of major conflicts = 54 Symbolic or abstract values in conflicts = 55 Questions on Conflict = 55 Setting = 56 Setting as a molder or determiner of character = 56 Setting as a reflection of character = 57 Setting for verisimiltude = 58 Setting for sheer visual impact = 58 Setting to create emotional atmosphere = 59 Setting as symbol = 60 Setting as microcosm = 60 Questions on Setting = 61 The Significance of Title = 62 Questions on Significance of Title = 62 Irony = 63 Dramatic irony = 63 Irony of situation = 64 Irony of character = 64 Irony of setting = 65 Irony of tone = 65 Philosophical implications—cosmic irony = 66 Questions on Irony = 67 4 VISUAL ELEMENTS = 68 The Importance of the Visual Image = 68 The Cinematic Film = 69 The Elements of Cinematic Composition = 70 Directing our attention to the object of greatest interest = 71 Keeping the image in constant motion = 75 Creating the illusion of depth = 81 Questions on Cinematic Qualities = 87 Editing = 87 The responsibilities of the editor = 88 Questions on Editing = 98 Cinematic Point of View = 99 The objective point of view = 99 The camera as participant in the action-subjective point of view = 100 Director's interpretive point of view = 102 Indirect-subjective point of view = 102 Techniques for Specialized Visual Effects = 104 The hand-held camera = 104 Role of camera angles = 104 Special colored or light-diffusing filters = 107 The use of special lenses = 107 Variations in filming speed = 109 The freeze frame = 111 Questions on Cinematic Viewpoint and Visual Effects = 111 Lighting = 112 Questions on Lighting = 115 Other Important Factors = 116 Color versus black and white = 116 Size and shape of the projected image = 117 Smooth- versus rough-grain film = 120 Questions on Color, Black and White, and Screen Size = 121 5 SOUND EFFECTS AND DIALOGUE = 122 Sound and the Modern Film = 122 "Visible" and "Invisible" Sound = 123 "Points of View" in Sound = 125 Dialogue = 127 Sound as a Transitional Element = 128 Voice-over Narration = 128 Silence as a "Sound" Effect = 130 Rhythmic Qualities of Dialogue and Sound Effects = 130 Questions on Sound Effects and Dialogue = 131 6 THE MUSICAL SCORE = 132 The Remarkable Affinity of Music and Film = 132 The Importance of the Musical Score = 133 General Functions of the Musical Score = 134 Questions on the Musical Score: General Functions = 135 Specialized Functions of Film Music = 136 Covering weaknesses or defects in the film = 136 Heightening the dramatic effect of dialogue = 136 Telling an "inner story," = 137 Providing a sense of time and place = 138 Foreshadowing coming events or building dramatic tension = 138 Adding levels of meaning to the visual image = 139 Characterization through music = 140 Triggering conditioned responses = 140 Traveling music = 141 Accompanying titles = 141 Musical "sounds" as a part of the score = 142 Music as interior monologue = 142 Economy in Film Music = 142 Questions on the Musical Score: Specialized Functions = 143 7 ACTING = 144 The Importance of Acting = 144 The Goal of the Actor = 145 The Differences Between Film Acting and Stage Acting = 145 Types of Actors = 150 The Star System = 152 Casting = 153 Questions on Acting = 155 8 THE DIRECTOR'S STYLE = 157 The Concept of Style = 158 Subject Matter = 159 Cinematography = 160 Camera movement = 161 Editing = 161 Choice of Setting and Set Design = 162 Sound and Score = 163 Casting and Acting Performances = 163 Questions on the Director's Style = 164 Questions on the Directors' Visual Styles = 182 9 SPECIAL PROBLEMS OF FILM ANALYSIS = 185 The Problem of Adaptation = 185 Reasonable expectations = 185 Change of medium = 185 Changing creative artists = 186 Cinematic potential of the original work = 187 Problems created by the viewer = 189 Film Adaptations of Novels = 189 Novelistic versus cinematic point of view = 190 First-person point of view = 194 The problem of length and depth = 195 Novelistic past tense versus cinematic present tense = 201 Other factors influencing adaptations of novels = 203 Questions on Adaptations of Novels = 204 Film Adaptations of Plays = 206 Structural divisions = 207 Sense of space = 207 Film language versus stage language = 209 Stage conventions versus cinema conventions = 211 Questions on Adaptations of Plays = 213 The Silent Film = 214 Questions on the Silent Film = 217 The Foreign-Language Film = 218 Voice dubbing = 218 Subtitles = 219 Cultural prejudice = 221 Questions on the Foreign-Language Film = 222 The Historically Important Film = 222 Questions on the Historically Important Film = 224 The Feature Film on Television = 224 The size of the image = 224 Missing segments = 225 Commercial breaks = 225 Network versus local stations = 226 Questions on the Feature Film on Television = 227 The Social-Problem Film = 227 Questions on the Social-Problem Film = 228 Viewer-Centered Problems of Film Analysis = 228 Categorical rejection = 229 Mistaking the part for the whole = 230 Great expectations = 231 An excess of expertise (or, the man who knew too much) = 232 The influence of external factors = 232 Questions on Viewer-Centered Problems = 234 10 ANALYSIS OF THE WHOLE FILM = 235 Preconceptions: Reviews and Other Sources = 235 The Basic Approach: Watching, Analyzing, and Evaluating the Film = 239 Theme and the director's intentions = 240 The separate elements and their relationship to the whole = 240 The film's level of ambition = 241 Objective evaluation of the film = 242 Subjective evaluation of the film = 243 Questions on Analysis of the Whole Film = 243 Other Approaches to Analysis, Evaluation, and Discussion = 244 The film as a technical achievement = 244 The film as a showcase for the actor-the personality cult = 245 The film as a product of a single creative mind-the auteur approach = 245 The film as a moral, philosophical, or social statement = 246 The film as an emotional or sensual experience = 247 The eclectic approach = 249 Questions on Other Approaches to the Film for Analysis, Evaluation, and Discussion = 249 Rereading the Reviews = 251 Evaluating the Reviewer = 252 Developing Personal Criteria = 254 Questions on Developing Personal Criteria for Film Evaluation = 256 APPENDIX: EXERCISE IN FILM ANALYSIS = 258 COMPREHENSIVE LIST OF QUESTIONS FOR ANALYSIS = 269 INDEX = 289

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