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| FILM DIRECTING FUNDAMENTALS
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See Your Film Before Shooting
To order this title, and for more information, click here
Third Edition
By
Nicholas Proferes, Professor of Film at the Film Division, School of the Arts, Columbia University where he has taught directing for more than 25 years.
He has worked extensively in the film industry as a director, cameraman, editor, and producer in both documentary and dramatic/narrative
films.
Description
Film Directing Fundamentals gives the novice director an organic methodology for realizing on the screen the full dramatic
possibility of a screenplay. Unique among directing books, this book provides clear-cut ways to translate a script to the screen. Using
the script as a blueprint, the reader is led through specific techniques to analyze and translate its components into a visual story.
A sample screenplay is included that explicates the techniques. The book assumes no knowledge and thus introduces basic concepts and
terminology.
Appropriate for screenwriters, aspiring directors and filmmakers, Film Directing Fundamentals helps filmmakers
bring their story to life on screen.
Audience
Beginning and aspiring film directors; film students
Contents
Part One
INTRODUCTION
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 Image
Chapter 2
Introduction to the Dramatic
Elements Embedded in the Screenplay
-Spine
-Whose film is it?
-Character
-Circumstance
-Dynamic Relationship
-Wants
-Expectations
-Actions
-Activity
-Acting Beats
-Dramatic Blocks
-Narrative Beats
-Fulcrum
Chapter 3
Organizing Action in a Dramatic Scene
-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
Camera
-The Camera as Narrator
-Reveal
-Entrances
-Objective Camera
-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 Camera
-Shot List, Storyboards, and Camera Setups
-The Prose Storyboard
Chapter 6
Camera in NOTORIOUS Patio
Scene
Part Two
MAKING YOUR FILM
Chapter 7
Detective Work On Scripts
-Reading Your Screenplay
-The Piece of Apple Pie Screenplay
-Whose
Film Is It?
-Character
-Circumstance
-Spines for The Piece Of Apple Pie
-Dynamic Relationships
-Wants
-Actions
-Acting Beats
-Activity
-Tone for The Piece Of Apple Pie
-Breaking The Piece Of Apple Pie Into Actions
-Designing a Scene
-Visualization
-Identifying the Fulcrum
and Dramatic Blocks
-Supplying Narrative Beats to The Piece Of Apple Pie
-Director?s Notebook
Chapter 8
Staging and Camera For The Piece
Of Apple Pie
-Staging The Piece Of Apple Pie
-Camera for The Piece Of Apple Pie
Chapter 9
Marking Shooting Script With Camera Setups
Chapter 10
Work 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?
Part Three
ORGANIZING ACTION IN AN ACTION SCENE
Chapter 13
Staging and Camera
for Over Easy Action Scene
Part Four
ORGANIZING ACTION IN A NARRATIVE SCENE
Chapter 14
Staging and Camera for Wanda Narrative Scene
Part Five
LEARNING THE CRAFT THROUGH FILM ANALYSIS
Chapter 15
Alfred Hitchcock?s Notorious
-Overview of Style and Design
-First
Act
-Second Act
-Third Act
-Summary
Chapter 16
Peter Weir?s The Truman Show
-Overview of Style and Design
-First Act
-Second Act
-Third
Act
-Summary
Chapter 17
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 18
Styles
And Dramatic Structures
-Style
-Narrative, Dramatic, and Poetic Visual Styles
-The Variety of Dramatic Structures
-Tokyo Story, Yasujiro
Ozu (1935, Japan)
-Some Like It Hot, Billy Wilder (1959)
-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)
-The Thin Red Line, Terrence Malick (1998)
-In the
Mood for Love, (Kar-wai Wong , 2001, Chinese)
-Little Children (Todd Field, 2006)
Chapter 19
-What's Next?
-Building Directorial
Muscles
-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
-Conclusion
| Bibliographic details |
Paperback, 336 pages, publication date: JUL-2008
ISBN-13: 978-0-240-80940-3
ISBN-10: 0-240-80940-8
Imprint: FOCAL PRESS
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| Price and Ordering |
Price:
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USD 34.95
GBP 19.99
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Last update: 5 Sep 2009
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