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http://blog.sina.com.cn/s/blog_5edf25790100nlm5.html 目錄: FOREWORD xi
ACKNOWLEDGMENTS xiii
PART ONE LEARNING HOW TO DRAW
Chapter 1 INTRODUCTION TO FILM LANGUAGE
AND GRAMMAR 3
The Film World 3
Film Language 3
Shots 4
Film Grammar 5
The 180-Degree Rule 5
The 30-Degree Rule 8
Screen Direction 9
Film Time 11
Compression 11
Elaboration 12
Familiar Images 12
Chapter 2 INTRODUCTION TO THE DRAMATIC ELEMENTS
EMBEDDED IN THE SCREENPLAY 14
Spines 14
Whose Film Is It? 16
Character 16
Circumstance 17
Dynamic Relationships 17
Wants 18
Expectations 18
Actions 19
Activity 19
Acting Beats 19
Chapter 3 ORGANIZING ACTION IN A DRAMATIC SCENE 21
Dramatic Blocks 21
Narrative Beats 21
The Fulcrum 22
Dramatic Elements in Notorious Patio Scene 22
Notorious Patio Scene Annotated 23
Chapter 4 STAGING 30
Main Functions 30
Patterns of Dramatic Movement 32
Changing the Stage Within a Scene 33
Staging as Part of a Film’s Design 34
Working with a Location Floor Plan 34
Floor Plan and Staging for Notorious Patio Scene 34
Chapter 5 THE CAMERA 40
The Camera as Narrator 40
The Reveal 40
Entrances 41
The Objective Camera 41
The Subjective Camera 41
Where Do I Put It? 42
Visual Design 45
Style 46
Coverage 46
Camera Height 47
Lenses 48
Composition 49
Where to Begin? 49
Working Toward Specificity in Visualization 50
Looking for Order 50
Dramatic Blocks and the Camera 51
Shot Lists and Storyboards 51
The Prose Storyboard 51
Chapter 6 CAMERA IN NOTORIOUS PATIO SCENE 54
First Dramatic Block 54
Second Dramatic Block 59
Third Dramatic Block 61
Fourth Dramatic Block and Fulcrum 66
Fifth Dramatic Block 67
PART TWO MAKING YOUR FILM
Chapter 7 DETECTIVE WORK ON SCRIPTS 77
Reading Your Screenplay 77
A Piece of Apple Pie Screenplay 78
Whose Film Is It? 83
Character 83
Circumstance 83
Spines for A Piece of Apple Pie 84
Dynamic Relationships 85
viii FILM DIRECTING FUNDAMENTALS
Wants 85
Actions 86
Acting Beats 86
Activity 86
Tone for A Piece of Apple Pie 86
Breaking A Piece of Apple Pie into Actions 87
Designing a Scene 87
Visualization 88
Identifying the Fulcrum and Dramatic Blocks 88
Supplying Narrative Beats to A Piece of Apple Pie 89
Director’s Notebook 96
Chapter 8 STAGING AND CAMERA FOR A PIECE
OF APPLE PIE 97
Staging 97
Camera 100
Conclusions 130
Chapter 9 MARKING SHOOTING SCRIPTS WITH
CAMERA SETUPS 131
Chapter 10 WORKING WITH ACTORS 139
Casting 140
First Read-Through 143
Directing During Rehearsals 144
Directing Actors on the Set 147
Chapter 11 MANAGERIAL RESPONSIBILITIES OF
THE DIRECTOR 150
Delegating Authority While Accepting Responsibility 150
The Producer 151
The Assistant Director 151
A Realistic Shooting Schedule 152
Working with the Crew 153
Working with the Director of Photography 153
Chapter 12 POSTPRODUCTION 154
Editing 154
Music and Sound 156
Locking Picture, or How Do You Know When It’s Over? 157
An Audience and a Big Screen 157
PART THREE LEARNING THE CRAFT THROUGH FILM ANALYSIS
Chapter 13 ALFRED HITCHCOCK’S NOTORIOUS 161
Overview of Style and Design 161
First Act 162
Second Act 165
Third Act 178
Summary 179
Contents ix
Chapter 14 PETER WEIR’S THE TRUMAN SHOW 180
Overview of Style and Design 180
First Act 182
Second Act 187
Third Act 199
Summary 204
Chapter 15 FEDERICO FELLINI’S 8-1/2 205
A Masterpiece? 205
The Director as Auteur 205
Dramatic Construction 206
Overview of Style and Design 206
Detective Work 208
First Act 209
Second Act 220
Third Act 235
Summary 238
Chapter 16 STYLES AND DRAMATIC STRUCTURES 240
Tokyo Story, Yasujiro Ozu (1953, Japan) 240
Some Like It Hot, Billy Wilder (1959, USA) 242
The Battle of Algiers, Gillo Pontecorvo (1965, France) 244
Red, Krzysztof Kieslowski (1994, Poland, France,
Switzerland) 245
Sex, Lies, and Videotape, Steven Soderbergh (1989, USA) 247
Shall We Dance?, Masayuki Suo (1996, Japan) 249
The Celebration, Thomas Vinterberg (1998, Denmark) 251
The Insider, Michael Mann (1999, USA) 253
The Thin Red Line, Terrence Malick (1998, USA) 255
Chapter 17 WHAT NEXT? 257
Writing for the Director 258
Begin Thinking About Your Story 258
Concocting Your Feature Screenplay 260
“Writing” Scenes with Actors 260
Shooting Your Film Before You Finish Writing It 261
The Final Script 261
Shooting Without a Screenplay? 261
Questions Directors Should Ask
About Their Screenplays 262
Building Directorial Muscles 263
Directing Exercises 263
Make A Piece of Apple Pie Your Own 269
Conclusion 269
BIBLIOGRAPHY 271