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Cinematic Storytelling

by: Van Sijll, Jennifer

Cinematic Storytelling

by: Van Sijll, Jennifer

ISBN 13:
9781932907056
ISBN 10:
193290705X
Format: Paperback
Copyright: 08/01/2005
Publisher: 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.

Acknowledgments

viii

Preface: Cinematic Storytelling

Introduction

Cinematic Storytelling: The Screenwriter

The Problem

What Does This Mean for the Screenwriter?

Script Excerpts

Cinematic Storytelling: The Director

xii

The Problem

xii

What Does This Mean for the Director?

xii

Space: 2-D & 3-D Screen Direction

(16)

Introduction

(2)

X-Axis (Horizontal) Strangers on a Train

(2)

Y-Axis (Vertical) Strangers on a Train

(2)

XY-Axes (Diagonals) Metropolis, The Piano

(2)

Z-Axis (Depth-of-Field) Citizen Kane

(2)

Z-Axis (Planes of Action) Dolores Claiborne

(2)

Z-Axis (Rack Focus) The Graduate

(3)

Frame: Composition

(14)

Introduction

(2)

Directing the Eye Citizen Kane

(2)

Imbalance Disco Pigs

(2)

Balance Disco Pigs

(2)

Orientation Apocalypse Now, Barton Fink

(3)

Size Metropolis

(2)

Shape Within the Frame

(14)

Introduction

(2)

Circular The Conversation

(2)

Linear Fargo

(2)

Triangular Witness

(2)

Rectangular The Searchers

(2)

Organic versus Geometric Witness

(3)

Editing: Pudovkin's Five Editing Techniques

(22)

Introduction: A Little Theory

(1)

Five Editing Principles

(1)

``On Editing''

(1)

Editing: Additional Techniques

(1)

Montage Citizen Kane

(2)

Montage Adaptation

(2)

Assembly Psycho

(2)

Mise-en-Scene Psycho

(2)

Intercutting Cabaret

(2)

Split Screen Kill Bill Vol. I

(2)

Dissolves Citizen Kane

(2)

Dissolves Barton Fink

(2)

Smash Cut American Beauty

(3)

Time

(22)

Introduction

(2)

Expanding Time through Pacing Barton Fink

(2)

Contrast of Time (Pacing and Intercutting) Pulp Fiction

(2)

Expanding Time --- Overlapping Action Pulp Fiction

(2)

Slo-Motion Raging Bull

(2)

Fast-Motion (Time Compression) Amelie

(2)

Flashback Sunset Boulevard

(2)

Flashforward The People vs. Larry Flynt

(2)

Freeze-Frame Butch Cassidy and the Sundance Kid, Thelma and Louise, The 400 Blows

(2)

Visual Foreshadowing The Piano

(3)

Sound Effects

(12)

Introduction

(2)

Realistic Sound (Diegetic) (Character) Klute

(2)

Realistic Sound (Diegetic) (Emotional Response) ET

(2)

Expressive Sound (Diegetic) (Outer World) Barton Fink

(2)

Surreal Sound (Meta-Diegetic) (Inner World) Barton Fink

(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

Amazon no longer offers textbook rentals. We do!

Cinematic Storytelling

Cinematic Storytelling

9781932907056

193290705X

Summary

Author Biography

Table of Contents

Supplemental Materials

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