Basics Film-Making 04: The Language of Film by John Marland, Robert Edgar-Hunt, Steven Rawle

By John Marland, Robert Edgar-Hunt, Steven Rawle

Basics Film-Making: The Language of Film explores the potential during which movie communicates aspiring to its audience. Despite the truth that so much movies are a mosaic of fractured photographs and fragmented narratives, now we have little challenge piecing them jointly right into a entire, significant series. the typical viewers is in a position to following the main labyrinthine plots, feeling real emotion for the main inconceivable characters, and believing that their worlds survive even after the movie has ended.

This e-book examines how motion pictures speak through contemplating the tales they inform, the signal platforms they installation, the interpretive contexts the viewer is invited to put them in, and the variety of aesthetic parts that give a contribution to the cinematic picture. every one bankruptcy concludes with a case examine within which key principles are noticeable in context inside of a selected movie, or a selected scene.  

Basics Film-Making: The Language of Film presents complicated principles in a transparent and simple type, permitting you to use those principles in your personal research or film-making.

Other titles integrated in the Basics Film-Making series include: ProducingScreenwriting and Directing Fiction

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Extra resources for Basics Film-Making 04: The Language of Film

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This frames the characters and the events. This then provides the starting point for developing the content, but doesn’t touch on form in any great detail. As a narratologist, Genette is concerned with all narratives and as such his levels of narration are highly detailed. Speech is often overlooked in production and analysis. Who is speaking, when, where and to whom are all vital questions. When placed against how we view characters this becomes even more complicated. The notion of reliability is paramount.

This seems like an obvious statement, but budding film-makers often think that a good structure will naturally emerge from a good story rather than being set out from the start. The temptation is also to assume that structure is the preserve of the screenwriter. While the writer undoubtedly is the first person to deal with structure, and has to be aware of the forms in which they are working, structure is an essential consideration for all members of the team. Developing a unified structure for your film will require the cooperation of everyone involved in the production.

By this Jost means that the position of the camera with, or alongside, the protagonist shifts the audience’s attention to that position. Theories of structure > Genette’s narrative discourse > Music François Jost and ocularisation Music Tip It is worth looking at the films of particular auteurs to establish whether the music plays a part in our familiarity with their work. For example, Woody Allen’s use of familiar jazz tracks or Alfred Hitchcock’s recurrent use of Bernard Herrman. Music cannot directly communicate narrative in the same way that dialogue can.

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