Joseph M. Boggs - The Art of Watching Films
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- Book:The Art of Watching Films
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- Publisher:McGraw-Hill
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- Year:2007
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With an emphasis on the narrative film, The Art of Watching Films challenges students to take their film experience further by sharpening their powers of observation, developing the skills and habits of perceptive watching, and discovering complex aspects of film art that they might otherwise overlook.
The Art of Watching Films introduces the formal elements and production process of films, and helps students analytically view and understand films within their historical, cultural and social contexts. The text presents an analytical framework that can be applied to all movies, as distinctly different as Avatar, The Girl with the Dragon Tattoo, Vertigo, Iron-Man, Man on Wire, and The Hurt Locker.
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The ART of Watching FILMS
Contents
;
IDENTIFYING THE THEME 32
EVALUATING THE THEME 34
Analyzing Theme 36
Video Exercises 37
Films for Study 38
Lord of the Rings
The Art of Watching Films
THE UNIQUENESS OF FILM 3
THE CHALLENGES OF FILM ANALYSIS 5
THE VALUE OF FILM ANALYSIS 6
BECOMING A RECEPTIVE VIEWER 9
THE FILM-VIEWING ENVIRONMENT 11
Finding Neverland
PREPARING TO SEE A FILM 15
DEEPENING OUR RESPONSES TO FILMS 17
Analyzing YourResponses to a Film18
Fictional and Dramatic Elements 40
FILM ANALYSIS AND LITERARY ANALYSIS 41
THE ELEMENTS OF A GOOD STORY 41
A Good Story Is Unified in Plot 42
A Good Story Is Credible 42
A Good Story Is Interesting 46
A Good Story Is Both Simple and Complex 48
A Good Story Handles Emotional
The New World
Material with Restraint 51
THE SIGNIFICANCE OF THE TITLE 53
DRAMATIC STRUCTURE 54
Thematic Elements 19
Linear, or Chronological, Structure 54
Nonlinear Structures 55
THEME AND FOCUS 20
Endings: Fine-Tuning the Denouement 56
Focus on Plot 20
CONFLICT 57
Focus on Emotional E f f e c t or Mood 20
CHARACTERIZATION 59
Focus on Character 22
Characterization Through Appearance 60
Focus on Style or Texture or Structure 23
Characterization Through Dialogue 61
Characterization Through External Action 62
COSTUME AND MAKEUP DESIGN 110
Characterization Through Internal Action 62
LIGHTING 114
Characterization Through Reactions of
THE BUDGET'S EFFECT ON THE FILM'S LOOK 119
Other Characters 64
Analyzing Visual Design 119
Characterization Through Contrast: Dramatic Foils 64
Characterization Through Caricature and Leitmotif 65 Video Exercises 120
Characterization Through Choice of Name 66
Mini-Movie Exercise 121
Varieties of Characters 67
DVD Filmmaking Extras 121
ALLEGORY 70
Films for Study 122
SYMBOLISM 71
Universal and Natural Symbols 72
Creating Symbolic Meanings 73
Symbolic Patterns and Progressions 76
Symbolic Values in Conflict 78
Metaphors 78
Overreading Symbolism 79
IRONY 80
Dramatic Irony 80
Brokeback Mountain
Irony of Situation 81
Irony of Character 82
Irony of Setting 82
Cinematography
Irony of Tone 82
and Special Visual Effects
Cosmic Irony 83
Analyzing Fictional and Dramatic Elements 84
THE IMPORTANCE OF THE VISUAL IMAGE 12S
Video Exercises 86
THE CINEMATIC FILM 125
Mini-Movie Exercise 88
CINEMATIC POINTS OF VIEW 126
DVD Filmmaking Extras 88
Objective Point of View 127
Films for Study 89
Subjective Point of View 128
Indirect-Subjective Point of View 130
Director's Interpretive Point of View 132
ELEMENTS OF CINEMATIC COMPOSITION 133
Focusing Attention on the Most Significant Object 134
Keeping the Image in Motion 138
Creating an Illusion of Depth 143
SPECIALIZED CINEMATIC TECHNIQUES 1S1
Handheld Camera 151
Memoirs of a Geisha
Camera Angles 152
Color, Diffusion, and Soft Focus 153
Special Lenses 155
Visual Design 90
Fast Motion 157
Special Lighting E f f e c t s 157
COLOR VERSUS BLACK AND WHITE 91
MOVIE MAGIC:
SCREEN FORMAT (ASPECT RATIO) 92
VISUAL EFFECTS IN THE MODERN FILM 158
FILM STOCK 93
THE F/X OF ANIMATED FEATURE
PRODUCTION DESIGN/ART DIRECTION 97
FILMS... ESPECIALLY FOR ADULTS 166
The Script: The Starting Point 97
FLASHBACK:
Setting and Its E f f e c t s 101
ANIMATION BECOMES THE MAIN EVENT
Studio Versus Location Shooting 105
Analyzing Cinematography
Period Pieces 106
Living Spaces and O f f i c e s 107
and Special Visual Effects 175
Fantasy Worlds 108
Video Exercises 176
Mini-Movie Exercise: Cinematography 177
Mini-Movie Exercise: Animated FX 177
FLASHBACK:
DVD Filmmaking Extras 178
DISCOVERING COLOR AT THE MOVIES 226
Films for Study 183
Color as a Transitional Device 233
Expressionistic Use of Color 236
Color as Symbol 238
Surrealistic Use of Color 238
Leitmotifs in Color 239
Color to Enhance Mood 240
Comic Book Color 240
Comic Strip Color 241
Painterly E f f e c t s in Color 242
The Constant Gardener
Ironic Use of Color 244
Special Color E f f e c t s 244
COLOR VERSUS BLACK AND WHITE 246
Editing
Analyzing Color 252
Video Exercises 252
SELECTIVITY 187
Mini-Movie Exercise 253
FLASHBACK: SAVING THE MOVIES:
DVD Filmmaking Extras 253
WHAT FILM EDITORS HAVE ALWAYS DONE 188
Films for Study 254
COHERENCE, CONTINUITY, AND RHYTHM 190
TRANSITIONS 190
RHYTHMS, TEMPO, AND TIME CONTROL 198
EXPANSION AND COMPRESSION OF TIME 202
SLOW MOTION 203
THE FREEZE FRAME, THE THAWED FRAME,
AND STILLS 212
The Freeze Frame 212
A Prairie Home Companion
The Thawed Frame 213
Stills 214
CREATIVE JUXTAPOSITION: MONTAGE 215
Sound Effects and Dialogue
Questions for Analyzing Editing 216
Video Exercises 216
SOUND AND THE MODERN FILM 257
Mini-Movie Exercise 219
DIALOGUE 258
Mini-Movie Exercise 220
THREE-DIMENSIONALITY IN SOUND 259
DVD Filmmaking Extras 220
VISIBLE AND INVISIBLE SOUND 262
Films for Study
POINTS OF VIEW IN SOUND 264
SPECIAL USES OF SOUND EFFECTS
AND DIALOGUE 266
Sound E f f e c t s to Tell an Inner Story 267
Distortion of Sound to Suggest Subjective States 268
The "Personality" of Mechanical Sounds 268
Slow-Motion Sound 269
Ironic Juxtaposition of Sound and Image 269
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