LEADER 05397oam 2200721I 450 001 9910457514803321 005 20200520144314.0 010 $a1-136-06950-X 010 $a1-281-00866-4 010 $a9786611008666 010 $a1-4237-0824-5 010 $a0-08-047772-0 024 7 $a10.4324/9780080477725 035 $a(CKB)1000000000362610 035 $a(EBL)232113 035 $a(OCoLC)437146325 035 $a(SSID)ssj0000154782 035 $a(PQKBManifestationID)11148907 035 $a(PQKBTitleCode)TC0000154782 035 $a(PQKBWorkID)10418770 035 $a(PQKB)10407864 035 $a(MiAaPQ)EBC232113 035 $a(CaSebORM)9780240805627 035 $a(Au-PeEL)EBL232113 035 $a(CaPaEBR)ebr10127938 035 $a(CaONFJC)MIL100866 035 $a(OCoLC)60660483 035 $a(EXLCZ)991000000000362610 100 $a20180706d2005 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aFilm directing fundamentals $esee your film before shooting /$fNicholas T. Proferes 205 $a2nd ed. 210 1$aAmsterdam ;$aBoston :$cFocal Press,$d2005. 215 $a1 online resource (286 p.) 300 $aDescription based upon print version of record. 311 $a1-136-06949-6 311 $a0-240-80562-3 320 $aIncludes bibliographical references (p. [271]) and index. 327 $aFront Cover; Film Directing Fundamentals; Copyright Page; Contents; Foreword; Acknowledgments; Part One: 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 327 $aDramatic BlocksNarrative 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? 327 $aWorking Toward Specificity in VisualizationLooking 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 Two: 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 327 $aTone for a Piece of Apple PieBreaking 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; Conclusions; 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 327 $aThe ProducerThe 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 Three: Learning the Craft Through Film Analysis; Chapter 13. Alfred Hitchcock's; 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? 327 $aThe Director as Auteur 330 $aUnique among directing books, Film Directing Fundamentals provides a clear-cut methodology for translating a script to the screen. Using the script as a blueprint, Proferes leads the reader 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. 606 $aMotion pictures$xProduction and direction 606 $aMotion picture industry 608 $aElectronic books. 615 0$aMotion pictures$xProduction and direction. 615 0$aMotion picture industry. 676 $a791.4302/33 700 $aProferes$b Nicholas T.$0941872 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910457514803321 996 $aFilm directing fundamentals$92125195 997 $aUNINA