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" Directing : "
Michael Rabiger, Mick Hurbis-Cherrier
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BL
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| Record Number
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581859
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b411078
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| Main Entry
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Rabiger, Michael
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| Title & Author
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Directing : : film techniques and aesthetics /\ Michael Rabiger, Mick Hurbis-Cherrier
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| Edition Statement
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5th ed
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| Publication Statement
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Waltham, Mass. :: Focal Press,, 2013
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| Page. NO
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xx, 517 pages :: illustrations ;; 24 cm
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| ISBN
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9780240818450
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: 0240818458
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: 9780240808826
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: 0240808827
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9780203072387
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| Notes
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Includes index
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| Bibliographies/Indexes
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Includes bibliographical references and index
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| Contents
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Part 1. The director and artistic identity : The world of the film director : Cinema and you ; The director ; Identifying your themes -- Developing your path as a director : Starting out ; The director and technology -- Part 2. The story and its development : essential elements of drama : Duality and conflict ; Elements of conflict and action ; From story to dramatic narrative -- Shaping the story into drama : Shaping the story into drama ; The beat ; Dramatic units ; Dramatic unit and beat analysis ; The dramatic arc ; The three-act structure ; Essentials of dramatization I: Making the internal visible ; Essentials of dramatization II: Questions and revelations -- Plot, time, and structure : What is plot? ; Character-driven and plot-driven stories ; Organizing time ; Structure ; Premise and theme ; Short films and story scale -- Part 3. The director and the script : Screenplay ground rules : The writer is the writer, not the director ; Choosing what is right for you ; Screenplay stages ; Standard screenplay formatting -- Recognizing the superior screenplay : Script language and technique ; First assessment ; Assessing cinematic qualities ; Checking the embedded values ; Viability and working within limitations -- Script analysis and development : Collapsing the screenplay for analysis ; Analyzing plot and story logic ; Character development ; Character analysis ; Dialogue and verbal action ; Checking exposition ; Assessing environmental detail ; Inviting a critical response -- Part 4. Authorship and aesthetics : Cinematic point of view : Telling stories on film ; Point of view in literature ; Point of view in film ; Central character, one point of view ; Multiple characters, multiple POVs ; The director's POV: from concerned observer to storyteller ; Audience POV ; POV is like Russian dolls ; Planning a point of view -- Form and style : The storyteller's vision ; Rhythmic design ; Directorial style -- Tone: naturalistic and stylized approaches : Genre and style ; Naturalism ; Stylization ; Distancing and suspending disbelief -- Part 5. A director's screen grammar : Film language : Film language and storytelling ; Cinematic space and time ; Authorial point of view -- The frame and the shot : Compositional axes of the frame ; Essential principles of composition ; Common shot sizes ; Shot selection -- The moving camera : Camera movements from a fixed position ; Dynamic camera movements ; Motivating the moving camera -- Language of the edit : Shots in juxtaposition ; The continuity system ; The basic shots of master scene technique ; The six principles of continuity editing ; Not just for two people ; Visual point of view ; Storytelling style and coverage ; Movement and screen direction ; Editing and time compression ; Real time and expanded time ; Shot duration, information and perception -- The human vantage of cinematic language : Human vantage : The concerned observer and the storyteller ; Conflict, attention, and the concerned observer ; Different angels on the same action ; Abstraction ; Subjectivity and objectivity ; Sequence and memory ; Screen language in summary ; The filmmaker and research ; The filmmaker and practice
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Part 6. Preproduction : Exploring the script : Interpreting the script ; Two types of film, tow kinds of preparation ; Homework ; Tools to reveal dramatic dynamics ; First visualization -- Casting : Overview ; Post a casting all advertisement ; Setting up the first audition ; Conducting the first audition ; Decisions after the first round ; First callback: auditioning with the script ; Second callback ; Making final choices ; Announcing casting decisions -- Acting fundamentals : Stanislavsky ; Comparing theater and film acting -- Directing actors : Director in relation to actors ; Common problems ; How much rehearsal is enough? ; Some do's and don'ts -- Rehearsals : The director prepares ; Setting up the rehearsal schedule ; Rehearsals with the book ; Rehearsing without the book ; A character's inner movement ; Locations, environments, and research ; The director as active observer ; Shooting rehearsals ; A long journey -- Acting exercises : Improvisation exercises ; Acting and doing ; The director's role during improvs ; The actor's role during improvs ; Improv exercises and exercises with a text -- Planning the visual design : Visual design questionnaire ; Visual research ; Examples for discussion ; The importance of the palette ; Locations and sets ; Moods and visual design ; Wardrobe, makeup, and hairdressing ; The script breakdown sheet ; Cinematography ; Designing a world ; Proving the design -- Coverage and the shooting script : General coverage considerations ; The heart of directing: the storyteller's point of view ; Creating the shooting script ; The floor plan and shooting script ; Plans and prudence ; Study the masters -- Line producing and logistics : Scheduling the shoot ; The call sheet ; Budgeting the film ; Drawing up an equipment list ; Workflow and equipment ; Shooting film or digital? ; Postproduction ; Production stills ; Awful warnings ; Production party -- Part 7. Production : Developing a production crew : Developing your own crew ; The crew's attitude and actors ; Production crew roles ; Role descriptions ; Set etiquette ; Production safety and security -- The director and production tech : Basic lighting approaches and terminology ; Common lighting functions ; The expressive capacity of the lens ; Lenses and the director's style ; Location sound -- On set: production begins : Before the camera rolls ; Getting to the first shot: an overview chronology ; Roll camera ; Crew responsibilities ; Another take, circle, or keeper -- Continuity sheets ; It's a wrap -- Directing on the set : Directing the actors ; For the new shot ; Criticism from the cast ; Directing the crew ; Wrapping for the day ; You as role model -- Monitoring continuity and progress : The script supervisor prepares ; Monitoring coverage and timing ; Types of continuity ; Monitoring continuity ; Monitoring your own progress as director ; At the end of the production
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Part 8. Postproduction : Postproduction overview : The postproduction team ; Technology, workflow, and the director ; The postproduction stages -- Editing begins: getting to know the footage : Transferring, logging, and organizing footage ; Dailies: reviewing and evaluating footage ; Partnership ; The first assembly ; Resolutions after seeing the first assembly ; Leave the editor to edit -- The rough cuts ; Editing principles ; Editing mimics an observing consciousness ; Editing to influence subtexts ; Visual and aural editing rhythms: an analogy in music ; Transitions and transitional devices ; The overlap cut and transitions ; The problem of achieving a flow ; The rough-cut viewing ; Summary -- Getting to fine cut and picture lock : Diagnostics ; The rough cut trial screening ; The fine cut ; Picture lock! -- Working with music : Spotting session ; Musical choice and scratch music ; Using pre-recorded music ; Collaborating with a composer ; When to use music, and when not ; Conflicts and composing to sync points ; Music editors and fitting music -- The sound mix : Finalizing sound ; Preparing for the sound mix ; Sound-mix tips ; Approve sections, then listen to the whole ; Make safety copies and store them in different locations -- The finishing touches : Color correction ; Titles and credits ; Mastering ; Distribution copies ; Promotion material ; Making festivals and screenings work for you
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| Abstract
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"This comprehensive manual has inspired tens of thousands of readers worldwide to realize their artistic vision and produce well-constructed films. Filled with practical advice on every stage of production, this is the book you will return to throughout your career. Directing, 5th edition covers the methods, technologies, thought processes, and judgments that a director must use throughout the fascinating process of making a film. The core of the book is the human, psychological, and technical knowledge that every director needs, the enduring elements of the craft that remain vital ... also provides an unusually clear view of the artistic process, particularly in working with actors and principle crew to achieve personally expressive storytelling and professionalism on any budget ... explores in detailed and applicable terms how to engage with the conceptual and authorial sides of filmmaking. Its eminently practical tools and exercises show how to: discover your artistic identity; develop credible and compelling stories with your cast and crew; and become a storyteller with a distinctive voice and style."--Back cover
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| Subject
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Motion pictures-- Production and direction
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| Subject
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Motion pictures-- Aesthetics
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| Dewey Classification
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791.4302/33
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| LC Classification
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PN1995.9.P7R26 2013
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| Added Entry
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Hurbis-Cherrier, Mick
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