Cinematic Storytelling,9781932907056

Cinematic Storytelling

by
ISBN13: 9781932907056
ISBN10: 193290705X
Format: Paperback
Pub. Date: 2005-08-01
Publisher(s): Michael Wiese Productions
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Summary

What the industry's most succcessful writers and directors have in common is that they have mastered the cinematic conventions specific to the medium.

Author Biography

Jennifer van Sijil teaches screenwriting at San Francisco State.

Table of Contents

Acknowledgments viii
Preface: Cinematic Storytelling x
Introduction xi
Cinematic Storytelling: The Screenwriter xi
The Problem xi
What Does This Mean for the Screenwriter? xi
Script Excerpts xi
Cinematic Storytelling: The Director xii
The Problem xii
What Does This Mean for the Director? xii
Space: 2-D & 3-D Screen Direction
1(16)
Introduction
2(2)
X-Axis (Horizontal) Strangers on a Train
4(2)
Y-Axis (Vertical) Strangers on a Train
6(2)
XY-Axes (Diagonals) Metropolis, The Piano
8(2)
Z-Axis (Depth-of-Field) Citizen Kane
10(2)
Z-Axis (Planes of Action) Dolores Claiborne
12(2)
Z-Axis (Rack Focus) The Graduate
14(3)
Frame: Composition
17(14)
Introduction
18(2)
Directing the Eye Citizen Kane
20(2)
Imbalance Disco Pigs
22(2)
Balance Disco Pigs
24(2)
Orientation Apocalypse Now, Barton Fink
26(3)
Size Metropolis
29(2)
Shape Within the Frame
31(14)
Introduction
32(2)
Circular The Conversation
34(2)
Linear Fargo
36(2)
Triangular Witness
38(2)
Rectangular The Searchers
40(2)
Organic versus Geometric Witness
42(3)
Editing: Pudovkin's Five Editing Techniques
45(22)
Introduction: A Little Theory
46(1)
Five Editing Principles
46(1)
``On Editing''
46(1)
Editing: Additional Techniques
47(1)
Montage Citizen Kane
48(2)
Montage Adaptation
50(2)
Assembly Psycho
52(2)
Mise-en-Scene Psycho
54(2)
Intercutting Cabaret
56(2)
Split Screen Kill Bill Vol. I
58(2)
Dissolves Citizen Kane
60(2)
Dissolves Barton Fink
62(2)
Smash Cut American Beauty
64(3)
Time
67(22)
Introduction
68(2)
Expanding Time through Pacing Barton Fink
70(2)
Contrast of Time (Pacing and Intercutting) Pulp Fiction
72(2)
Expanding Time --- Overlapping Action Pulp Fiction
74(2)
Slo-Motion Raging Bull
76(2)
Fast-Motion (Time Compression) Amelie
78(2)
Flashback Sunset Boulevard
80(2)
Flashforward The People vs. Larry Flynt
82(2)
Freeze-Frame Butch Cassidy and the Sundance Kid, Thelma and Louise, The 400 Blows
84(2)
Visual Foreshadowing The Piano
86(3)
Sound Effects
89(12)
Introduction
90(2)
Realistic Sound (Diegetic) (Character) Klute
92(2)
Realistic Sound (Diegetic) (Emotional Response) ET
94(2)
Expressive Sound (Diegetic) (Outer World) Barton Fink
96(2)
Surreal Sound (Meta-Diegetic) (Inner World) Barton Fink
98(3)
Music
101(8)
Lyrics as Narrator Apocalypse Now
102(2)
Symbolic Use of Music Shawshank Redemption
104(2)
Music as a Moveable Prop Out of Africa
106(3)
Scene Transitions (Audio and Visual)
109(24)
Introduction
110(2)
Matching Audio Segue Sorry, Wrong Number, Fatal Attraction
112(2)
Audio Bridge (Dialog) Citizen Kane
114(2)
Audio Bridge (Sound Effects) Barton Fink
116(2)
Visual Match-Cut (Graphic Similarity) Single White Female
118(2)
Visual Match-Cut (Pattern and Color) Citizen Kane
120(2)
Visual Match-Cut (Action) 2001: A Space Odyssey
122(2)
Visual Match-Cut (Idea) Requiem for a Dream
124(2)
Visual Match-Cut (Idea) Harold and Maude
126(2)
Extended Match Dissolve (Time Transition) Titanic
128(2)
Disrupted Match-Cut Bound
130(3)
Camera Lenses
133(14)
Wide-Angle Citizen Kane
134(2)
Wide-Angle (Vistas and Establishing Shots) The Piano
136(2)
Telephoto the Graduate
138(2)
Fisheye Requiem for a Dream
140(2)
Prop Lenses within the Scene (Fisheye) Citizen Kane
142(2)
Objects Dances with Wolves
144(3)
Camera Position
147(20)
Close-up (CU) The Piano
148(2)
Extreme Close-up (ECU) Kill Bill Vol. I
150(2)
Two-Shot The Piano
152(2)
Over-the-Shoulder Shot (OTS) Chinatown, The Piano
154(2)
Point-of-View (POV) Halloween
156(2)
Point-of-View (POV) Jaws
158(2)
High-Angle Citizen Kane
160(2)
Low-Angle ET
162(2)
Hi-Lo Combined Psycho
164(3)
Camera Motion
167(28)
Static Shot Klute
168(2)
Pan Dances with Wolves
170(2)
Tilt-Up (Character) The Professional
172(2)
Tilt-Down Fargo
174(2)
Rotation Bound, Apocalypse Now
176(2)
Tracking Shot Fatal Attraction
178(2)
Circular Reservoir Dogs
180(2)
Push In --- Push Out Fargo
182(2)
Crane Touch of Evil
184(2)
Handheld Touch of Evil
186(2)
Handheld Pulp Fiction
188(2)
Steadicam Goodfellas
190(2)
Aerial The Piano
192(3)
Lighting
195(14)
Rembrandt Lighting (Light versus Dark) Apocalypse Now
196(2)
TV Lighting Natural Born Killers
198(2)
Candlelight American Beauty
200(2)
Motivated Lighting Fatal Attraction
202(2)
Unmotivated Light The Professional
204(2)
Motion ET
206(3)
Color
209(4)
Coding Character Three Women
210(3)
Props
213(10)
Props (Externalizing Character) Barton Fink
214(2)
Props (Externalizing Character) Raging Bull
216(2)
Repurposing Props Bound
218(2)
Contrast Harold and Maude
220(3)
Wardrobe
223(8)
Wardrobe Ed Wood
224(2)
Repurposing Wardrobe Out of Africa
226(2)
Contrast of Wardrobe Bound
228(3)
Locations
231(10)
Defining Character Hedwig and the Angry Inch
232(2)
Location as Unifying Element The Sweet Hereafter
234(2)
Location as Theme Blue Velvet
236(2)
Moving Locations Dead Man
238(3)
Natural Environment
241
Introduction
242(2)
Climate The Sixth Sense
244(2)
Seasons and the Passage of Time Amelie
246(2)
Physical Phenomena Dolores Claiborne
248

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