Cinematic storytelling: the 100 most powerful film conventions every filmmaker must know
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Studio City, CA
Wiese
2005
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XII, 257 Seiten Illustrationen |
| ISBN: | 193290705X 9781932907056 |
Staff View
MARC
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Record in the Search Index
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| adam_text | IMAGE 1
THE 100 MOST POWERFUL FILM CONVENTIONS
EVERY FILMMAKER MUST KNOW
JENNIFER VAN SIJLL
IMAGE 2
CONTENTS 8. IMBALANCE 9. BALANCE DISCO PIGS DISCO PIGS 22 24
ACKNOWLEDGMENTS VIII 10. ORIENTATION APOCALYPSE NOW, BARTON FINK 26
11. SIZE METROPOLIS 29
PREFACE: CINEMATIC STORYTELLING X
3. SHAPE WITHIN THE FRAME 31
INTRODUCTION XI INTRODUCTION 32
CINEMATIC STORYTELLING: THE SCREENWRITER XI 12. CIRCULAR THE
CONVERSATION 34
THE PROBLEM XI
13. LINEAR 14. TRIANGULAR
FARGO WITNESS
36 38
WHAT DOES THIS MEAN FOR THE SCREENWRITER? XI 15. RECTANGULAR
THE SEARCHERS 40
16. ORGANIC VERSUS GEOMETRIE WITNESS 42
SCRIPT EXCERPTS XI
4. EDITING: PUDOVKIN S FIVE EDITING TECHNIQUES 45
CINEMATIC STORYTELLING: THE DIRECTOR XII INTRODUCTION: A LITTLE THEORY
46
FIVE EDITING PRINCIPLES 46
THE PROBLEM XII ON EDITING 46
WHAT DOES THIS MEAN FOR THE DIRECTOR? XII
EDITING: ADDITIONAL TECHNIQUES 47
17. MONTAGE CITIZEN KANE 48
1. SPACE: 2-D & 3-D SCREEN DIRECTION 1 18. MONTAGE ADAPTATION 50
INTRODUCTION 2 19. ASSEMBLY
PSYCHO 52
20. MISE-EN-SCENE PSYCHO 54
1. X-AXIS (HORIZONTAL) STRANGERS ON A TRAIN 4 21. INTERCUTTING CABARET
56
2. Y-AXIS (VERTICAL) STRANGERS ON A TRAIN 6 22. SPLIT SCREEN KILL BILL
VOL. 1 58
~. XY-AXES (DIAGONALS) METROPOLIS, THE PIANO 8
23. DISSOLVES CITIZEN KANE 60
4. Z-AXIS (DEPTH-OF-FIELD) CITIZEN KANE 10 24. DISSOLVES BARTON F INK 62
$. Z-AXIS (PLANES OF ACTION) DOLORES CLAIBORNE 12 25. SMASH CUT AMERICAN
BEAUTY 64
()I.Z-AXIS (RACK FOCUS) THE GRADUATE 14
5. TIME 67
I, FRAME: COMPOSITION 17 INTRODUCTION 68
ODUETION 18
26. EXPANDING TIME THROUGH PACING BARTON FINK 70
CITIZEN KANE 20 27. CONTRAST OF TIME (PACING AND
IMAGE 3
INTERCUTTING) PULP FICTION 72 44. AUDIO BRIDGE (SOUND EFFECTS) BARTON
FINK 116
28. EXPANDING TIME 45. VISUAL MATCH-CUT (GRAPHIE
OVERLAPPING ACTION PULP FICTION 74 SIMILARITY) SINGLE WHITE FEMALE 118
29. SLO-MOTION RAGING BULL 76 46. VISUAL MATCH-CUT (PATTERN
30. FAST-MOTION (TIME COMPRESSION) AMELIE 78 AND COLOR) CITIZEN KANE 120
31. FLASHBACK SUNSET BOULEVARD 80 47. VISUAL MATCH-CUT (ACTION) 2001:
ASPACE ODYSSEY 122
32. FLASHFORWARD THE PEOPLE VS. LARRY FLYNT 82 48. VISUAL MATCH-CUT
(IDEA) REQUIEM {OR A DREAM 124
33. FREEZE-FRAME BUTCH CASSIDY AND THE SUNDANCE 49. VISUAL MATCH-CUT
(LDEA) HAROLD AND MAUDE 126
KID, THELMA AND LOUISE, 50. EXTENDED MATCH DISSOLVE
THE 400 BLOWS 84 (TIME TRANSITION) TITANIC 128
34. VISUAL FORESHADOWING THE PIANO 86 51. DISRUPTED MATCH-CUT BOUND 130
6. SOUND EFFECTS 89 9. CAMERA LENSES 133
INTRODUCTION 90 52. WIDE-ANGLE CITIZEN KANE 134
35. REALISTIC SOUND (DIEGETIC) (CHARACTER) 36. REALISTIC SOUND
(DIEGETIC) (EMOTIONAL RESPONSE) 37. EXPRESSIVE SOUND (DIEGETIC)
(OUTER WORLD) 38. SURREAL SOUND (META-DIEGETIC) (INNER WORLD)
KLUTE
ET
BARTON FINK
BARTON FINK
92
94
96
98
53. WIDE-ANGLE (VISTAS AND ESTABLISHING SHOTS) 54. TELEPHOTO 55. FISHEYE
56. PROP LENSES WITHIN THE SCENE (FISHEYE) 57.0BJECTS
THE PIANO THE GRADUATE REQUIEM {OR A DREAM
CITIZEN KANE DANCES WITH WOLVES
136 138 140
142 144
7. MUSIC 101
10. CAMERA POSITION 147
39. LYRICS AS NARRATOR 40. SYMBOLIC USE OF MUSIC 41. MUSIC AS A MOVEABLE
PROP
APOCALYPSE NAW SHAWSHANK REDEMPTIAN OUT A{ A{RICA
102 104 106
58. CLOSE-UP (CU) 59. EXTREME CLOSE-UP (ECU) 60. TWO-SHOT 61.
OVER-THE-SHOULDER SHOT (OTS)
THE PIANO KILL BILL VAL. 1 THE PIANO CHINATOWN, THE PIANO
148 150 152 154
8. SCENE TRANSITIONS (AUDIO AND VISUAL) 109 62. POINT-OF-VIEW (POV)
HALLOWEEN 156
INTRODUCTION 110 63. POINT-OF-VIEW (POV) ]AWS 158
42. MATCHING AUDIO SEGUE
43. AUDIO BRIDGE (DIALOG)
SORRY, WRONG NUMBER, FATAL ATTRACTION CITIZEN KANE 112
114
64. HIGH-ANGLE 65. LOW-ANGLE 66. HI-LO COMBINED
CITIZEN KANE ET PSYCHO
160 162 164
IMAGE 4
11. CAMERA MOTION 167 15. WARDROBE 223
67. STATIC SHOT KLUTE 168 91. WARDROBE ED WOOD 224
68. PAN DANCES WITH WOLVES 170 92. REPURPOSING WARDROBE OUT OF AFRICA
226
69. TILT-UP (CHARACTER) THE PROFESSIONAL 172 93. CONTRAST OF WARDROBE
BOUND 228
70. TILT-DOWN FARGO 174
16. LOCATIONS 231
71. ROTATION BOUND, APOCALYPSE NOW 176
94. DEFINING CHARACTER HEDWIG AND THE ANGRY INCH 232 72. TRACKING SHOT
FATAL ATTRACTION 178 95. LOCATION AS UNIFYING ELEMENT THE SWEET
HEREAFTER 234 73. CIRCULAR RESERVOIR DOGS 180 96. LOCATION AS THEME BLUE
VELVET 236 74. PUSH IN - PUSH OUT FARGO 182 97. MOVING LOCATIONS DEAD
MAN 238 75. CRANE TOUCH OF EVIL 184
76. HANDHELD TOUCH OF EVIL 186 17. NATURAL ENVIRONMENT 241
77. HANDHELD PULP FICTION 188 INTRODUCTION 242
78. STEADICAM GOODFELLAS 190
98. CLIMATE THE SIXTH SENSE 244 79. AERIAL THE PIANO 192
99. SEASONS AND THE PASSAGE OF TIME AMELIE 246
12. LIGHTING 195 100. PHYSICAL PHENOMENA DOLORES CLAIBORNE 248
80. REMBRANDT LIGHTING (LIGHT VERSUS DARK) APOCALYPSE NOW 196
81. TV LIGHTING NATURAL BORN KILLERS 198
82. CANDLELIGHT AMERICAN BEAUTY 200
83. MOTIVATED LIGHTING FATAL ATTRACTION 202
84. UNMOTIVATED LIGHT THE PROFESSIONAL 204
85. MOTION ET 206
13. COLOR 209
86. CODING CHARACTER THREE WOMEN 210
14. PROPS 213
87. PROPS (EXTERNALIZING CHARACTER) BARTON FINK 214
88. PROPS (EXTERNALIZING CHARACTER) RAGING BULL 216
89. REPURPOSING PROPS BOUND 218
90. CONTRAST HAROLD AND MAUDE 220
|
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| id | DE-604.BV037215016 |
| illustrated | Illustrated |
| indexdate | 2025-02-20T06:38:39Z |
| institution | BVB |
| isbn | 193290705X 9781932907056 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-021129001 |
| oclc_num | 614847156 |
| open_access_boolean | |
| owner | DE-1051 DE-1046 DE-863 DE-BY-FWS DE-Po75 |
| owner_facet | DE-1051 DE-1046 DE-863 DE-BY-FWS DE-Po75 |
| physical | XII, 257 Seiten Illustrationen |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Wiese |
| record_format | marc |
| spellingShingle | Van Sijll, Jennifer 1954- Cinematic storytelling the 100 most powerful film conventions every filmmaker must know Film Cinematography Motion pictures Production and direction Film (DE-588)4017102-4 gnd Erzähltechnik (DE-588)4124854-5 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4124854-5 |
| title | Cinematic storytelling the 100 most powerful film conventions every filmmaker must know |
| title_auth | Cinematic storytelling the 100 most powerful film conventions every filmmaker must know |
| title_exact_search | Cinematic storytelling the 100 most powerful film conventions every filmmaker must know |
| title_full | Cinematic storytelling the 100 most powerful film conventions every filmmaker must know Jennifer Van Sijll |
| title_fullStr | Cinematic storytelling the 100 most powerful film conventions every filmmaker must know Jennifer Van Sijll |
| title_full_unstemmed | Cinematic storytelling the 100 most powerful film conventions every filmmaker must know Jennifer Van Sijll |
| title_short | Cinematic storytelling |
| title_sort | cinematic storytelling the 100 most powerful film conventions every filmmaker must know |
| title_sub | the 100 most powerful film conventions every filmmaker must know |
| topic | Film Cinematography Motion pictures Production and direction Film (DE-588)4017102-4 gnd Erzähltechnik (DE-588)4124854-5 gnd |
| topic_facet | Film Cinematography Motion pictures Production and direction Erzähltechnik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=021129001&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT vansijlljennifer cinematicstorytellingthe100mostpowerfulfilmconventionseveryfilmmakermustknow |
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THWS Würzburg Zentralbibliothek Lesesaal
| Call Number: |
1000 AP 45000 V217 |
|---|---|
| Copy 1 | ausleihbar Checked out – Due: 05.05.2026 Recall This |