Log In
Or create an account ->
Imperial Library
Home
About
News
Upload
Forum
Help
Login/SignUp
Index
Acknowledgments
Preface: Cinematic Storytelling
Introduction
Cinematic Storytelling: The Screenwriter
The Problem
What Does This Mean for the Screenwriter?
Script Excerpts
Cinematic Storytelling: The Director
The Problem
What Does This Mean for the Director?
1. Space: 2-D & 3-D Screen Direction
Introduction
1. X-Axis (Horizontal) Strangers on a Train
2. Y-Axis (Vertical) Strangers on a Train
3. XY-Axes (Diagonals) Metropolis, The Piano
4. Z-Axis (Depth-of-Field) Citizen Kane
5. Z-Axis (Planes of Action) Dolores Claiborne
6. Z-Axis (Rack Focus) The Graduate
2. Frame: Composition
Introduction
7. Directing the Eye Citizen Kane
8. Imbalance Disco Pigs
9. Balance Disco Pigs
10. Orientation Apocalypse Now, Barton Fink
11. Size Metropolis
3. Shape Within the Frame
Introduction
12. Circular The Conversation
13. Linear Fargo
14. Triangular Witness
15. Rectangular The Searchers
16. Organic versus Geometric Witness
4. Editing: Pudovkin’s Five Editing Techniques
Introduction: A Little Theory
Five Editing Principles
“On Editing”
Editing: Additional Techniques
17. Montage Citizen Kane
18. Montage Adaptation
19. Assembly Psycho
20. Mise-en-Scène Psycho
21. Intercutting Cabaret
22. Split Screen Kill Bill Vol. 1
23. Dissolves Citizen Kane
24. Dissolves Barton Fink
25. Smash Cut American Beauty
5. Time
Introduction
26. Expanding Time through Pacing Barton Fink
27. Contrast of Time (Pacing and
28. Expanding Time — Overlapping Action Pulp Fiction
29. Slo-Motion Raging Bull
30. Fast-Motion (Time Compression) Amélie
31. Flashback Sunset Boulevard
32. Flashforward The People vs. Larry Flynt
33. Freeze-Frame Butch Cassidy and the Sundance Kid, Thelma and Louise, The 400 Blows
34. Visual Foreshadowing The Piano
6. Sound Effects
Introduction
35. Realistic Sound (Diegetic) (Character) Klute
36. Realistic Sound (Diegetic) (Emotional Response) ET
37. Expressive Sound (Diegetic) (Outer World) Barton Fink
38. Surreal Sound (Meta-Diegetic) (Inner World) Barton Fink
7. Music
39. Lyrics as Narrator Apocalypse Now
40. Symbolic Use of Music Shawshank Redemption
41. Music as a Moveable Prop Out of Africa
8. Scene Transitions (Audio and Visual)
Introduction
42. Matching Audio Segue Sorry, Wrong Number, Fatal Attraction
43. Audio Bridge (Dialog) Citizen Kane
44. Audio Bridge (Sound Effects) Barton Fink
45. Visual Match-Cut (Graphic Similarity) Single White Female
46. Visual Match-Cut (Pattern and Color) Citizen Kane
47. Visual Match-Cut (Action) 2001: A Space Odyssey
48. Visual Match-Cut (Idea) Requiem for a Dream
49. Visual Match-Cut (Idea) Harold and Maude
50. Extended Match Dissolve (Time Transition) Titanic
51. Disrupted Match-Cut Bound
9. Camera Lenses
52. Wide-Angle Citizen Kane
53. Wide-Angle (Vistas and Establishing Shots) The Piano
54. Telephoto The Graduate
55. Fisheye Requiem for a Dream
56. Prop Lenses within the Scene (Fisheye) Citizen Kane
57. Objects Dances with Wolves
10. Camera Position
58. Close-up (CU) The Piano
59. Extreme Close-up (ECU) Kill Bill Vol. 1
60. Two-Shot The Piano
61. Over-the-Shoulder Shot (OTS) Chinatown, The Piano
62. Point-of-View (POV) Halloween
63. Point-of-View (POV) Jaws
64. High-Angle Citizen Kane
65. Low-Angle ET
66. Hi-Lo Combined Psycho
67. Static Shot Klute
68. Pan Dances with Wolves
69. Tilt-Up (Character) The Professional
70. Tilt-Down Fargo
71. Rotation Bound, Apocalypse Now
72. Tracking Shot Fatal Attraction
73. Circular Reservoir Dogs
74. Push In — Push Out Fargo
75. Crane Touch of Evil
76. Handheld Touch of Evil
77. Handheld Pulp Fiction
78. Steadicam Goodfellas
79. Aerial The Piano
12. Lighting
80. Rembrandt Lighting (Light versus Dark) Apocalypse Now
81. TV Lighting Natural Born Killers
82. Candlelight American Beauty
83. Motivated Lighting Fatal Attraction
84. Unmotivated Light The Professional
85. Motion ET
13. Color
86. Coding Character Three Women
14. Props
87. Props (Externalizing Character) Barton Fink
88. Props (Externalizing Character) Raging Bull
89. Repurposing Props Bound
90. Contrast Harold and Maude
15. Wardrobe
91. Wardrobe Ed Wood
92. Repurposing Wardrobe Out of Africa
93. Contrast of Wardrobe Bound
16. Locations
94. Defining Character Hedwig and the Angry Inch
95. Location as Unifying Element The Sweet Hereafter
96. Location as Theme Blue Velvet
97. Moving Locations Dead Man
17. Natural Environment
Introduction
98. Climate The Sixth Sense
99. Seasons and the Passage of Time Amélie
100. Physical Phenomena Dolores Claiborne
← Prev
Back
Next →
← Prev
Back
Next →