In this unique study of the process of filmmaking, director Edward Dmytryk blends abstract film theory and the practical realities of feature film production to provide an artful and elegant analysis of the conceptual foundations of filmmaking and film studies. Dmytryk explores the technical principles underlying the craft of filmmaking and how their use is effective in developing the viewers involvement in the cinematic narrative.
Originally published in 1988, this reissue of Dmytryks classic book includes a new critical introduction by Joe McElhaney.
Publishers Note
In the 1980s, Focal Press published five books on the art of filmmaking by legendary film director Edward Dmytryk (19081999), Oscar-nominated director of Crossfire, The Caine Mutiny , and The Young Lions , among many other films. Together, these five titles comprise a masterclass with one of Hollywoods most acclaimed, storied, and controversial filmmakers.
With most of these books long out of print, Focal Press/Routledge is pleased to reissue these classic titles with all new supplemental material for current day readers. Each book includes a new introduction, as well as chapter notes including exercises, discussion questions, and more.
Mick Hurbis-Cherrier serves as coordinator for the series, which includes the following titles, all available from Focal Press/Routledge:
Cinema: Concept & Practice (originally published 1988, with new material by Joe McElhaney):
On Film Editing (originally published 1984, with new material by Andrew Lund)
On Screen Acting (with Jean Porter Dmytryk, originally published 1984, with new material by Paul Thompson)
On Screen Directing (originally published 1984, with new material by Bette Gordon and Eric Mendelsohn)
On Screen Writing (originally published 1985, with new material by Mick Hurbis-Cherrier)
We are grateful to the estate of Edward Dmytryk and Jean Porter Dmytryk, especially to Rebecca Dmytryk, for their assistance in bringing these important books back into print.
Focal Press/Routledge
June 2018
Cinema
Concept & Practice
EDWARD DMYTRYK
Introduction by Joe McElhaney
This edition published 2019
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
Originally published by Focal Press 1988
1988 text Edward Dmytryk
2019 material Joe McElhaney
The right of Edward Dmytryk to be identified as the author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Dmytryk, Edward, author. | McElhaney, Joe, 1957 writer
of introduction.
Title: Cinema : concept & practice / Edward Dmytryk ; introduction by
Joe McElhaney.
Description: New York : Routledge, Taylor & Francis Group, 2019. |
Originally published by Focal Press 1988. |
Includes filmography and index.
Identifiers: LCCN 2018028270| ISBN 9781138584266 (hardback) |
ISBN 9781138584273 (paperback) | ISBN 9780429506123 (e-book)
Subjects: LCSH: Motion picturesPhilosophy.
Classification: LCC PN1995 .D54 2019 | DDC 791.4301dc23
LC record available at https://lccn.loc.gov/2018028270
ISBN: 978-1-138-58426-6 (hbk)
ISBN: 978-1-138-58427-3 (pbk)
ISBN: 978-0-429-50612-3 (ebk)
Typeset in Times
by Florence Production Ltd, Stoodleigh, Devon, UK
Contents
by Joe McElhaney
Guide
Within the industry and art form known as the cinema, the life of Edward Dmytryk is one of multiple journeys. Born September 4, 1908 in Grand Forks, British Columbia, Dmytryk was the second of four sons of Polish-Ukrainian immigrants. In 1915, the family moved to a small town in Washington called Northport. Dmytryks father was frequently abusive to his family, and the death of Dmytryks mother from a ruptured appendix prompted Dmytryks father to move the boys to San Francisco, where he placed them in an orphan home with a promise to return. He returned a year later, by which point he had remarried.
In 1919, the family moved to Los Angeles, where Dmytryk was enrolled in Lockwood Grammar School. During his time at Lockwood, Dmytryk was tested by the Terman Group from Stanford University, in search of students with superior IQ. Dmytryk qualified for the study and became part of what was at the time the longest-running psycho -logical study ever conducted.
Further abuse from his father drove Dmytryk to run away from home at age 14. For his safety, social workers placed him in a private home, but he was told he would need to get a job to help cover the rent. Thus, from a very early age, his was a life devoted to labor, to working hard: as a caddy or selling newspapers on street corners, or as a messenger and office boy.
It was the latter job, working evenings and weekends for Famous Players-Lasky studios (later Paramount Pictures), while attending Hollywood High School, that first brought him into contact with the motion picture industry. Through this job he first encountered the cutting room and taught himself to splice film while also becoming a cutting room projectionist. It was in the cutting room, he would later state, that I learned the rudiments of filmmaking.
While working for Paramount and still in high school, Dmytryk was offered a scholarship at the California Institute of Technology. He accepted the scholarship, but continued to work as a projectionist on weekends and holidays. After a year in school, Dmytryk decided he wanted to make the film business his full-time career, and returned to Paramount. Soon thereafter, Dmytryk was working as an assistant editor and, eventually, editor, cutting films for such directors as George Cukor ( The Royal Family of Broadway and Zaza ) and Leo McCarey ( Ruggles of Red Gap and Love Affair ). He made a short-lived directorial debut in 1935 with the low-budget western The Hawk , made for Monogram studios, but would spend the next few years directing sequences in B films without credit, while continuing to edit the films of others. It was his uncredited co-direction of Million Dollar Legs for Paramount in 1939 (the same year in which he became an American citizen) that led to his first director jobs, first for Paramount and then for Columbia.