Writing About Movies
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|Author||: Thomas Lennon,Robert Ben Garant|
|Editor||: Simon and Schuster|
The writers of Reno 911! and several other feature films trace their haphazard experiences in the movie industry, revealing the process through which they worked on script development with executives and stars, pacified exploitative decision makers and fought to be paid for their work.
|Author||: Timothy Corrigan|
Both an introduction to film study and a practical writing guide, this brief text introduces students to major film theories as well as film terminology, enabling them to write more thoughtfully and critically. With numerous student and professional examples, this engaging and practical guide progresses from taking notes and writing first drafts to creating polished essays and comprehensive research projects. Moving from movie reviews to theoretical and critical essays, the text demonstrates how an analysis of a film can become more subtle and rigorous as part of a compositional process --
|Author||: Richard Meran Barsam,Dave Monahan|
|Editor||: W W Norton & Company Incorporated|
Disc 1 offers 25 short 'tutorials,' helping students see what the text describes. Disc 2 includes an anthology of 12 short films, from 5 to 30 minutes in length. Together, the DVDs offer nearly five hours of pedagogically useful moving-image content.
|Author||: William Guynn|
Historical film has been an important genre since the earliest silent films. The French Revolution, the American Civil War, the conquest of the New World, World War II--all have been repeatedly represented in film. But how do we distinguish between fictionalized spectacle and authentic historical representation? Writing History in Film sets out the narratological, semiological, rhetorical, and philosophical bases for understanding how film can function as a form of historical interpretation and representation. With case studies and an interdisciplinary approach, William Guynn examines the key issues facing film students and scholars, historians, and anyone interested in how we see our historical past.
|Author||: Mark Cousins|
An updated edition – with completely new chapters – of the most accessible and compelling history of the cinema yet published, and complements Mark Cousins' fascinating 15-hour film documentary The Story of Film: An Odyssey. Filmmaker and author Mark Cousins shows how filmmakers are influenced both by the historical events of their times, and by each other. He demonstrates, for example, how Douglas Sirk’s Hollywood melodramas of the 1950s influenced Rainer Werner Fassbinder’s despairing visions of 1970s Germany; and how George Lucas’ Star Wars epics grew out of Akira Kurosawa’s The Hidden Fortress. The Story of Film is divided into three main epochs: Silent (1885–1928), Sound (1928–1990) and Digital (1990–Present). Films are discussed within chapters reflecting both the stylistic concerns of the film-makers and the political and social themes of the time. This edition includes new text that encompasses the further-reaching scope of world cinema today, and the huge leaps in technology that have changed cinema screens forever. Film is an international medium, so as well as covering the great American films and film-makers, The Story of Film explores cinema in Europe, Africa, Asia, Australasia and South America, and shows how cinematic ideas and techniques cross national boundaries. Avoiding jargon and obscure critical theory, the author constantly places himself in the role of the moviegoer watching a film, and asks: ‘How does a scene or a story affect us, and why?’ In so doing he gets to the heart of cinematic technique, explaining how film-makers use lighting, framing, focal length and editing to create their effects. Clearly written, and illustrated with over 400 stills, including numerous sequences explaining how scenes work, The Story of Film is essential reading for both film students and moviegoers alike.
|Author||: Peter Lehman,William Luhr|
|Editor||: John Wiley & Sons|
A complete introduction to analyzing and enjoying a wide variety of movies, for film students and movie lovers alike Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is a thorough overview of movie analysis designed to enlighten both students and enthusiasts, and heighten their enjoyment of films. Readers will delve into the process of thinking about movies critically and analytically, and find how doing so can greatly enhance the pleasure of watching movies. Divided roughly into two parts, the book addresses film studies within the context of the dynamics of cinema, before moving on to a broader analysis of the relationship of films to the larger social, cultural, and industrial issues informing them. This updated fourth edition includes an entirely new section devoted to a complete analysis of the film adaptation of The Girl with the Dragon Tattoo, along with many in-depth discussions of important films such as Citizen Kane and Silence of the Lambs. The chapter on television integrates a major expansion distinguishing between television in the digital era of the convergence of the entertainment and technology industries in comparison to the era of broadcast analogue television. The final chapter places film within the current context of digital culture, globalization, and the powerful rise of China in film production and exhibition. The authors clearly present various methodologies for analyzing movies and illustrate them with detailed examples and images from a wide range of films from cult classics to big-budget, award-winning movies. This helps viewers see new things in movies and also better understand and explain why they like some better than others. Thinking About Movies: Watching, Questioning, Enjoying, Fourth Edition is ideal for film students immersed in the study of this important, contemporary medium and art form as well as students and readers who have never taken a class on cinema before.
|Author||: Linda J. Cowgill|
|Editor||: Lone Eagle|
This new edition has been completely updated and revised along with the addition of several new chapters. Currently, this title remains the best selling university text book on writing short film screenplays.
|Author||: Roslyn Muir|
Award-winning screenwriter Roslyn Muir offers clear and simple advice for beginners and experts alike on how to master the popular TV movie thriller and rom-com genres. Writing a TV Movie is an exceptional resource for screenwriters.
|Author||: Roger Ebert|
|Editor||: W W Norton & Company Incorporated|
The Pulitzer Prize-winning film critic assembles and introduces more than one hundred essays and articles about film, with entries by and about movie stars, famous directors, industry executives, and critics. Tour.
|Author||: Hadley Freeman|
|Editor||: Simon and Schuster|
From Vogue contributor and Guardian columnist Hadley Freeman, a personalized guide to eighties movies that describes why they changed movie-making forever—featuring exclusive interviews with the producers, directors, writers and stars of the best cult classics. For Hadley Freeman, movies of the 1980s have simply got it all. Comedy in Three Men and a Baby, Hannah and Her Sisters, Ghostbusters, and Back to the Future; all a teenager needs to know in Pretty in Pink, Ferris Bueller’s Day Off, Say Anything, The Breakfast Club, and Mystic Pizza; the ultimate in action from Top Gun, Die Hard, Beverly Hills Cop, and Indiana Jones and the Temple of Doom; love and sex in 9 1/2 Weeks, Splash, About Last Night, The Big Chill, and Bull Durham; and family fun in The Little Mermaid, ET, Big, Parenthood, and Lean On Me. In Life Moves Pretty Fast, Hadley puts her obsessive movie geekery to good use, detailing the decade’s key players, genres, and tropes. She looks back on a cinematic world in which bankers are invariably evil, where children are always wiser than adults, where science is embraced with an intense enthusiasm, and the future viewed with giddy excitement. And, she considers how the changes between movies then and movies today say so much about society’s changing expectations of women, young people, and art—and explains why Pretty in Pink should be put on school syllabuses immediately. From how John Hughes discovered Molly Ringwald, to how the friendship between Dan Aykroyd and John Belushi influenced the evolution of comedy, and how Eddie Murphy made America believe that race can be transcended, this is a “highly personal, witty love letter to eighties movies, but also an intellectually vigorous, well-researched take on the changing times of the film industry” (The Guardian).
|Author||: Cynthia Whitcomb|
|Editor||: Taylor & Francis|
Most movies include a love story, whether it is the central story or a subplot, and knowing how to write a believable relationship is essential to any writer's skill set. Discover the rules and laws of nature at play in a compelling love story and learn and master them. Broken into four sections, The Heart of the Film identifies the critical features of love story development, and explores every variation of this structure as well as a diverse array of relationships and types of love. Author Cynthia Whitcomb has sold over 70 feature-length screenplays and shares the keys to her success in The Heart of the Film, drawing on classic and modern films as well as her own extensive experience.
|Author||: Roger Ebert|
|Editor||: University of Chicago Press|
At the time of his death in 2013, Roger Ebert was arguably the most influential writer about movies in the United States. He had been film critic for the Chicago Sun-Times for over 45 years, reviewing more movies than any other critic active during that time and pioneering in both television reporting and reviewing. In 1975 he was the first film critic to win the Pulitzer Prize for criticism. Conceived in September, 1996 as a biweekly series, his Great Movies pieces ran until his death. They are the creme de la creme of Ebert s writinghe demonstrated the critical acumen evident in his daily reviews, and the longer format allowed him to offer more reflective and wide-ranging considerations of the films chosen. Ebert saw the series as a tour of the landmarks of the first century of cinema, offering a balance between titles most people have heard ofand those few readers may be familiar with. In the 62 pieces collected in this fourth volume, Ebert continued that practice, offering illuminating essays on movies ranging from The Big Lebowski to Viridiana. Matt Zoller Seitz, the current editor-in-chief of the Ebert website, has provided an insightful Foreword, confirming the lasting value of his critical writing. The Great Movies IV is a fitting capstone to a great career."
|Author||: Gotham Writers Workshop|
|Editor||: Bloomsbury Publishing USA|
To break into the screenwriting game, you need a screenplay that is not just good, but great. Superlative. Stellar. In Writing Movies you'll find everything you need to know to reach this level. And, like the very best teachers, Writing Movies is always practical, accessible, and entertaining. The book provides a comprehensive look at screenwriting, covering all the fundamentals (plot, character, scenes, dialogue, etc.) and such crucial-but seldom discussed-topics as description, voice, tone, and theme. These concepts are illustrated through analysis of five brilliant screenplays-Die Hard, Thelma & Louise, Tootsie, Sideways, and The Shawshank Redemption. Also included are writing assignments and step-by-step tasks that take writers from rough idea to polished screenplay. Written by Gotham Writers' Workshop expert instructors, Writing Movies offers the same winning style and clarity of presentation that have made a success of Gotham's previous book Writing Fiction, which is now in its 7th printing. Named the "best class for screenwriters" in New York City by MovieMaker Magazine, Gotham Writers' Workshop is America's leading private creative writing school, offering classes in Manhattan and on the Web at www.WritingClasses.com. The school's interactive online classes, selected as "Best of the Web" by Forbes, have attracted thousands of aspiring writers from across the United States and more than sixty countries.
|Author||: Tim Grierson|
|Editor||: Laurence King Publishing|
With a twist on the practical moviemaking genre, This is How You Make a Movie brings the subject to life by explaining the terms through the films you know and love. Using key scenes from some of the best-loved movies of all time, Tim Grierson explores everything from cinematography through to the secrets of talking to camera. Depth of focus is explored through Citizen Kane, forced perspective through The Lord of the Rings, and slow motion through Reservoir Dogs. Elegant schematics describe the practical detail, and provide informative background to the highly readable and enjoyable text.
|Author||: David Denby|
|Editor||: Simon and Schuster|
In the second decade of the twenty-first century, the movies, once America’s primary popular art form, have become an endangered species. Do the Movies Have a Future? is a rousing and witty call to arms. In these sharp and engaging essays and reviews, New Yorker movie critic David Denby weighs in on “conglomerate aesthetics,” as embodied in the frenzied, weightless action spectacles that dominate the world’s attention, and “platform agnosticism,” the notion that movies can be watched on smaller and smaller screens: laptops, tablets, even phones. At the same time, Denby reaffirms that movies are our national theater, and in this exhilarating book he celebrates such central big movies as Avatar and The Social Network as well as small but resonant triumphs like There Will Be Blood and The Tree of Life. Denby joyously celebrates what remains of the shared culture in romantic comedy, high school movies, and chick flicks; he assesses the expressive triumphs and failures of auteurs Quentin Tarantino, the Coen brothers, Pedro Almodóvar, and David Fincher. Refusing nostalgia, he mines the past for strength, examining the changing nature of stardom and the careers of Joan Crawford, Otto Preminger, and Victor Fleming, and the continuing self-invention of Clint Eastwood. And he recreates the excitement of reading two critics who embodied the film culture of their times, James Agee and Pauline Kael. Wry, passionate, and incisive, Do the Movies Have a Future? is both a feast of good writing and a challenge to fight back. It is an essential guide for movie lovers looking for ammunition and hope.
|Author||: Peter Stamm|
|Editor||: Other Press, LLC|
A novel about survival, self-reliance, and art, by Peter Stamm, finalist for the 2013 Man Booker International Prize All Days Are Night is the story of Gillian, a successful and beautiful TV host, content with her marriage to Matthias, even if she feels restless at times. One night following an argument, the couple has a terrible car accident: Matthias, who is drunk, hits a deer on the wet road and dies in the crash. Gillian wakes up in the hospital completely disfigured. Only slowly, after many twists and turns, does she put her life back together, and reconnects with a love interest of the past who becomes a possible future—or so it seems. In Stamm’s unadorned and haunting style, this new novel forcefully tells the story of a woman who loses her life but must stay alive all the same. How she works everything out in the end is at once surprising and incredibly rewarding.
|Author||: Michael McGriff,J. M. Tyree|
|Editor||: Deep Vellum Publishing|
A whip-smart fiction debut, Our Secret Life in the Movies riffs on classic and cult cinema. Inspired by films from silent-era documentaries to music videos, the authors unfold a dual narrative about two boys growing up in the 1980s. Coming of age during the last days of the Cold War, these boys dream of space exploration and nuclear winter, Reaganomics and Dungeons & Dragons, Blade Runner and Red Dawn. Haunting, cinematic, and full of life, Our Secret Life makes it clear that we are in the movies and the movies are in us.
|Author||: Tom Lazarus|
|Editor||: St. Martin's Griffin|
Most books about screenplays instruct on three-act structure, character arcs, and how to format a script. But you already know all that. Secrets of Film Writing reveals a working writer's secrets-the tips, short cuts, tricks, and insider advice that will get your story down on paper, maximize your idea, and seduce your readers. Do you know why actors pick scripts out of a stack? Why montage sequences don't work? Why the traditional three-act structure is obsolete? Lazarus lifts the veil with dozens of secrets like these. Lazarus's insights and techniques will smooth and improve any screenwriter's process and will make any script more readable and ultimately more salable. Secrets of Film Writing takes you behind the scenes of feature and television writing and demystifies, once and for all, the Hollywood System.