The Art of Moviemaking

Basic Information

Title

The Art of Moviemaking

Subtitle

Script To Screen

Parallel Title

-

Country

국외

Production Date

2001-**-**

Language

영어

Size (mm)

190 x 235

Pages

624쪽

ISBN/ISSN

0130879428

Edition

-

Master Files

-

Producer

Richard Beck Peacock (저자), Prentice Hall (발행처)

Description

-

Contents

Contents

Preface = xi CHAPTER 1. Cinema Art, Film Technology, and the Movie Industry = 1 The Magic of Movies = 1 The Movie Environment = 2 Film Literacy = 6 Movies as Mirrors = 9 Movies as Myth = 12 A Team Act = 15 But Is it Art? = 16 Background: The Old Hollywood = 20 The Business of Moviemaking Today = 31 Summary = 47 The Producer: Gail Katz Interview = 49 Films to Consider = 54 Thought Questions and Exercises = 55 Further Reading = 55 PART ONE. The Preproduction Phase = 57 CHAPTER 2. The Script = 61 The Role of the Screenwriter = 61 The Work of the Screenwriter = 65 The Mechanics of Script Writing: Designing the Scene = 66 Screenplay Structure = 67 The Nature of Story Conflict = 75 Characterization = 82 Dialogue = 83 Finding the Theme = 85 Film Genre = 86 Story Sources: The Differing Codes of Cinema and Literature = 96 Writing Considerations: Finding the Voice = 104 Points of View = 105 The Influence of the Director = 109 Summary = 110 The Screenwriter: Buck Henry Interview = 111 Films to Consider = 115 Thought Questions and Exercises Relating to Screenwriting = 116 Further Reading = 117 CHAPTER 3. The Look = 119 The World of the Movie = 119 Background: The Sophistication of Design = 122 The Work of the Production Designer = 125 Starting Off = 127 The Design Team = 129 Design Environments = 146 Shooting Sites = 149 Delineating Characters = 155 Designing with Color = 157 A Case Study: The Rocketeer = 158 Summary = 162 The Production Designer: Patricia Norris Interview = 163 Films to Consider = 168 Thought Questions and Exercises Relating to Production Design = 169 Further Reading = 170 CHAPTER 4. Casting The Performers = 171 The Criteria = 171 Background: The Star System = 174 Story-Driven vs. Star-Driven Movies = 177 What Makes a Star? = 179 Casting against Type = 186 Casting Support Roles = 189 The Demands of Acting = 191 Types of Acting Styles = 197 Finding the Character = 207 Playing the Scene = 210 Text and Subtext = 212 Case Study: Fatal Attraction—"The Restaurant Scene" = 213 Summary = 215 The Casting Director: Pam Dixon Mickelson Interview = 215 Films to Consider = 220 Thought Questions and Exercises = 221 Further Reading = 222 PART TWO. Production: The Principal Photography Stage = 223 Chapter 5. The Director = 227 The Art of Storytelling on Film = 227 Background: The Rise of the Auteur = 229 The Work of Directing = 234 Styles of Directing = 241 Resumes of Current Directors = 255 The Impact of International Directors = 258 Auteurs Working in American Movies Today = 268 Summary = 280 The Director: Vondie Curtis-Hall Interview = 280 Films to Consider = 286 Thought Questions and Exercises = 287 Further Reading = 288 CHAPTER 6. The Art of Technique = 289 On the Set = 289 The Nature of a Shot = 289 Shot Characteristics = 291 Frame Composition = 299 Reading the Frame = 309 A Fundamental Shot Series = 315 Camera Movement = 319 Special Effects = 329 Summary = 346 Special Effects: Sandra Ford Karpman Interview = 348 Films to Consider = 353 Thought Questions and Exercises = 354 Further Reading = 355 CHAPTER 7. The Cinematographer = 357 Making Pictures = 357 Background: The Evolving Art of Cinematography = 358 Working with Directors = 361 The Cameras = 366 Lighting = 374 Aesthetics of the Camera = 382 Color = 388 A Case Study: Don't Look Now = 393 Summary = 394 The Cinematographer: Bill Pope Interview = 395 Films to Consider = 400 Thought Questions and Exercises = 402 Further Reading = 402 PART THREE. The Postproductioh Phase = 405 CHAPTER 8. The Editor = 409 The Art of Editing = 409 The Central Role of Editing = 411 Background: The Art of Editing Evolves = 417 The Director／Editor Relationship = 421 The Skills of Editing = 423 The Aesthetics of Editing = 434 Editing Movement = 445 Editing Endings = 448 The Work of Editing = 451 Summary = 459 The Editor: Carol Littleton Interview = 460 Films to Consider = 466 Thought Questions and Exercises = 467 Further Reading = 468 CHAPTER 9. Sound Design = 471 The Nature of Sound in Film = 471 Background: The Changing Technology of Film Sound = 472 The Uses of Sound in Movies = 475 The Spoken Word = 477 Music = 482 The Stages of Music Production for Film = 489 Aesthetics of Film Music = 497 Sound Effects = 504 The Final Mix = 512 Summary = 514 The Composer: Mark Isham Interview = 515 Films to Consider = 519 Thought Questions and Exercises = 521 Further Reading = 521 CHAPTER 10. Marketing And Distribution = 523 Finding the Audience = 523 Patterns of Movie Distribution = 525 The Major Distributors: Mainline Hollywood = 527 Marketing Research = 529 Background of the Rating System = 534 Advertising and the Media = 539 The Selling of Movies = 547 The Future of Motion Picture Delivery Systems = 552 Overseas Markets: The Globalization of American Film = 553 American Independent Producers and Distributors = 555 Critical Responses = 568 Summary = 573 The Film Critic: Peter Travers Interview = 574 Films to Consider = 581 Thought Questions and Exercises = 583 Further Reading = 583 Appendix Ⅰ. Student Writing = 585 A List of Probes = 586 Some Writing Hints = 588 Sample of a Student Paper = 589 Appendix II. The Scene Structure of a Movie: Fatal Attraction = 591 Glossary = 599 Index = 607

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