references film analysis

Subscribe to filmstudy

Email:

Visit this group

blogsearch.google.com * my profile @ amazon

... anatolant.vodpod.com -- film & cine101 [my last attempt to have video-place(s) online]

2008 new references [bottom]

[ lul-film logo ] cine101

2008 --

group/filmstudy :

From Cinema

* Fall 2006 film directing -- Directing: Film Techniques and Aesthetics, Third Edition (Paperback) by Michael Rabiger 0240805178

directing list video clips * 2006: * flickr.com/people/vtheatre images

new & news:

communication class sample

100 best NYT

A Guide to Narratological Film Analysis Manfred Jahn ***

filmplus.org/store.html
filmplus.org/shop.html
filmplus.org/shop.txt

2007

Cinema

2007

Recommended: Sergei Eisenstein _Film Form_ (Essays in Film Theory)

Seven Chapters for serious students:
Through Theatre to Cinema (Elements of Film Language),
The Filmic Fourth Dimension (Time-Space),
A Dialectic Approach to Film Form (Conflict),
The Cinematographic Principle and the Ideogram (Shots),
Methods of Montage (Cuts),
The Structure of the Film (Style),
Film Language (Potemkin)

Tony Barr _Acting for the Camera_ New York, Harper & Row, 1982.
Charles Marowtiz _The Art of Being: Towards a Theory of Acting_ New York Grove Press, 1974.
Rudolf Arnheim _Visual Thinking_ Berkeley: University of California Press, 1969.
Arthur Berger _Seeing is Believing_ Mayfield Publishing Co. 1983
Sergei Eisenstein _Film Sense_ New York: HBJ, 1975.
David Park _The Image of Eternity_ Umass Press, 1980.

references

... 2006-2007 Modern Language Association (MLA) Style

THR470 Film Directing:

Film Directing Shot by Shot: Visualizing from Concept to Screen (Michael Wiese Productions) (Paperback) by Steven D Katz 0941188108

Directing: Film Techniques and Aesthetics, Third Edition (Paperback) by Michael Rabiger 0240805178

new: MASTERS: Listen to Filmmakers BBC FOUR Audio interviews [ Robert Altman * Alfred Hitchcock * David Puttnam * Mike Leigh ... RealPlayer ]

[ full list ]

Frame Analysis

Google Answers: Analysis of films *

Film Course sample

INTRODUCTION TO FILM APPRECIATION, CRITICISM AND ANALYSIS? Then why only a few directors? Too deep for Into, too narrow for Appreciation.

To participate in the IDEAL Program, it is expected that you will do the following:
1. Attend every class session. Be on time.
2. Obtain the required course materials prior to the first class session.
3. Complete the first assignment prior to the first class session and all subsequent assignments to the best of your ability.
4. Participate in the class discussions and demonstrate respect and consideration to the instructor and other students when they express themselves in discussion.
If you cannot perform these four expectations, it is recommended that you drop the class. *

Deleuzian Film Analysis: The Skin of the Film

Eisenstein part 1. Мемуары Эйзенштейна * Впервые на русском языке издается полный текст автобиографической книги Сергея Михайловича Эйзенштейна (1898 — 1948), крупнейшего кинорежиссера и теоретика искусства, вы- дающегося педагога и блестящего рисовальщика, одного из са- мых знаменитых деятелей культуры XX века.

Мастер-класс Кшиштофа Кислевского. Шесть актеров в поисках режиссера

7 & 1/2 и Фильмы Андрея Тарковского М. Туровская

Теперь, когда Андрея Тарковского нет, его "вторая жизнь" только начинается. О нем пишут много, будут писать еще больше...

Film Directing index

Film Analysis index

Film-North index

http://www.gwu.edu/gelman/guides/arts/filmstudies.html

European Cinema: An Introduction. Jill Forbes and Sarah Street. Basingstoke, Hampshire: Palgrave, 2000. [Emma Wilson; Journal of European Studies, Vol. 31, 2001]

Vital Crises in Italian Cinema: Iconography, Stylistics, Politics by P. Adams Sitney; University of Texas Press, 1995

Screening the Past: Film and the Representation of History by Tony Barta; Praeger, 1998

http://ppi-pwf.texterity.com/ppi/cinema2006/

A History of Narrative Film by David A. Cook; W. W. Norton, 1996

*** http://www.questia.com/library/communication/media-studies/television/directing-film-and-television.jsp

BERGMAN (total directing): Between Stage and Screen: Ingmar Bergman Directs by Egil Tornqvist; Amsterdam University Press, 1995 - PROLOGUE - PART 1 THE STAGE DIRECTOR - Strindberg, the Dream Play (1970) - Strindberg, the Ghost Sonata (1973) - Strindberg, Miss Julie (1985) - O'Neill, Long Day's Journey into Night (1988) - Ibsen, a Doll's House (1989) - Shakespeare, the Winter's Tale (1994) - PART 2 THE SCREEN DIRECTOR - The Seventh Seal (1957) - Wild Strawberries (1957) - Strindberg, Storm (1960) - Persona (1966) - Cries and Whispers (1973) - Autumn Sonata (1978) - Fanny and Alexander (1982) - PART 3 THE RADIO DIRECTOR - Strindberg, Easter (1952) - A Matter of the Soul (1990) - EPILOGUE

Film Directors on Directing by John Andrew Gallagher; Praeger, 1989

Writing, Directing and Producing Documentary Films and Videos by Alan Rosenthal; Southern Illinois University Press, 1996 - 1: Introduction - Part I: From Idea to First Draft - 2: Clearing the Decks - 3: Getting to Work - 4: Writing the Proposal - 5: Research - 6: Shaping the Film - 7: Beginning the First Draft - 8: Completing the First Draft - Part II: Preproduction - 9: Budget and Contract - 10: Preproduction - Part III: Production - 11: The Director Prepares - 12: Directing the Interview - 13: On Location - Part IV: Postproduction - 14: Editing - 15: Writing the Final Narration - 16: Finishing the Film - Part V: Special Cases - 17: Cinema Verite - 18: Documentary Drama - 19: The Historical Documentary - 20: Industrial and Public Relations Films - 21: Staying Alive - 22: Conclusion: Problems and Challenges

Fifty Contemporary Filmmakers by Yvonne Tasker; Routledge, 2002

Handbook of Soviet and East European Films and Filmmakers by Thomas J. Slater; Greenwood Press, 1992

THEATRE:

A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart; Routledge, 2001 - Preface: Story and Anti-Story - Memory - Violence - Eroticism - Terror - Stereotype - Embarrassment - Resistance

A History of Narrative Film by David A. Cook; W. W. Norton, 1996 - 1: Origins - 2: International Expansion, 1907-1918 - 3: D. W. Griffith and the Development of Narrative Form - 4: German Cinema of the Weimar Period, 1919-1929 - 5: Soviet Silent Cinema and the Theory of Montage, 1917-1931 - 6: Hollywood in the Twenties - 7: The Coming of Sound and Color, 1926-1935 - 8: The Sound Film and the American Studio System - 9: Europe in the Thirties - 10: Orson Welles and the Modern Sound Film - 11: Wartime and Postwar Cinema: Italy and the United States, 1940-1951 - 12: Hollywood, 1952-1965 - 13: The French New Wave and Its Native Context - 14: New Cinemas in Britain and the English-Speaking Commonwealth - 15: European Renaissance: West - 16: European Renaissance: East - 17: The Former Soviet Union, 1945-Present - 18: Wind from the East: Japan, India, and China - 19: Third World Cinema - 20: Hollywood, 1965—present

.... http://digitalfilmmaker.net/

... * http://www.expandedcinema.blogspot.com/ from anatolant.stumbleupon.com

[ see support pages (bottom) ]

http://flickr.com/groups/stage

http://www.film-philosophy.com/

nybooks.com -- 2008 (writing samples and analysis in class):

* Volume 24, Number 1 · February 3, 1977 Who Makes Movies? By Peter Bogdanovich

http://www.nybooks.com/articles/19983

http://www.epinions.com/mvie-topic-Video-All-Community-Best-Politics ***

... "W." -- movie