Title:
The art of technique : an aesthetic approach to film and video production
Personal Author:
Publication Information:
Boston, Mass. : Allyn & Bacon, 1996
ISBN:
9780205142484
Added Author:
Available:*
Library | Item Barcode | Call Number | Material Type | Item Category 1 | Status |
|---|---|---|---|---|---|
Searching... | 30000003710302 | PN1995 D68 1996 | Open Access Book | Book | Searching... |
On Order
Summary
Summary
This book provides readers with a teaching tool not currently available. It fills a gap in the literature by going beyond simple discussions of hardware usage, basic technical knowledge, and descriptions of technique to in-depth discussions of how this knowledge can be applied in a coherent approach to production.
Table of Contents
| Forward |
| 1 Treatment and Interpretation |
| Interpretation |
| Treatment of the Subject• Determining Purpose • Discovering Theme • Employing Technique • Exercising Imagination and Originality |
| Virtual Reality |
| Treating Reality in Documentary |
| Intention |
| The Written Treatment • Interpreting the Script |
| Personal Style |
| 2 Ideas |
| The Story Tellers |
| Conflict and Mood |
| Jack the Giant Killer • Prince and the Pauper • Clash of the Titans • The Peacemaker • Triumph of Courage • Tempting Fate • Role Reversals • Fish Out of Water • Strange Bedfellows • Buddy Pictures • Ship of Fools • The Quest • Portraiture |
| Stories |
| Your Experiences • Other Sources for Story Ideas • Stories for Episodic Television • Inspiration |
| Lack of Inspiration |
| Research |
| Story Research |
| Location Research • Library Research |
| Interviewing • Synthesizing Research |
| Visualization |
| Motifs and Symbols |
| 3 Point of View |
| The Points of View |
| POV Shots • Perspective |
| First Person • Second Person • Third Person |
| Character Point of View • Attitude |
| The Audience's Point of View |
| Defining the Audience |
| 4 Story/Narrative Structure |
| The Rules of the Game |
| Beginning, Middle and End |
| The Beginning • The Middle • The End |
| Rising Action |
| The Inciting Incident • The Crisis • The Point of No Return • The Climax • A-Story and B-Story/ Plots and Subplots |
| Other Formats |
| Skits • A Day in the Life • Portraiture • A Special Place |
| Constructing the Structure |
| Structuring and Idea |
| Log Lines: The TV Guide Version • Beats: The Story Steps |
| Structuring the Production |
| A Real Time Medium |
| Pauses • Creating Expectation • Pacing |
| Sequences: The String of Pearls |
| 5 Mood |
| Treatment of Mood |
| Location and Setting |
| Color, Texture, and Design |
| Lighting |
| Camera Framing, Angles and Movement |
| Lens Focal Length |
| Editing |
| Montage |
| Sound |
| Sound Effects • Voice |
| Performance: Talent and Direction |
| Putting It All Together |
| Exercise |
| 6 Characterization and Portraiture |
| A Question of Balance |
| The Quest for Personality |
| Physical Features • Sociological Situations • Psychological Profile • Vitality and Power • Lasting Relationships • Secondary Characters |
| The Treatment of Character in Production |
| Preproduction: Casting • Production |
| Setting/Arena • Props • Other Characters, Narration and Commentary • First Action • Lighting • Image Size and Camera Movement |
| 7 Mise en Scene and Design |
| The Philosophy of Mise en Scene |
| The Material Content of Shots |
| The Production Elements of Mise en Scene |
| Evocative Locations and Photographic Opportunities |
| Creating a Catalog of Visuals |
| Visual Story-Telling • The Look of the Production • Designing the Frame |
| Shooting Mise en Scene |
| Day Exteriors • Night Exteriors • Interiors • Set Dressings and Props • Costumes • Lighting |
| Contrast Ratios • Lighting Ratio • Hard and Soft Lighting |
| Design |
| 8 Using the Camera for Interpretation |
| Lensing the Image |
| The Eye of the Beholder |
| Inside the Fourth Wall • Visual Variety |
| Camera Placement |
| Framing |
| Wide, Medium, and Close-Up Shots |
| Angles |
| Frontal Angles • High and Low Angles |
| Focal Length |
| Short Focal Length • Norma |
