This book makes the case that the secret to feature filmmaking is that it is fundamentally the practice of making a very specific type of argument. It deep-dives into how filmmakers are trained and taught to think about filmmaking, looking at hundreds of films to explore why knowing this can both unlock both a greater appreciation of the form, and improve a filmmaker’s technique.
This book makes the case that the secret to feature filmmaking is that it is fundamentally the practice of making a very specific type of argument. It deep-dives into how filmmakers are trained and taught to think about filmmaking, looking at hundreds of films to explore why knowing this can both unlock both a greater appreciation of the form, and improve a filmmaker’s technique.
DARREN PAUL FISHER is an international multi-award-winning screenwriter, director, producer, and head of film, screen and creative media at Bond University, Australia.
Inhaltsangabe
NOTE ON SCREEN REFERENCES PART I: THE ELEPHANT IN THE SCREENING ROOM 1 WHAT’S THE BIG SECRET? 2 THE OTHER HALF OF THE STORY A Brief History of Film as Argument 3 WHAT AND HOW FILMS ARGUE 4 ALTERNATE CONCEPTIONS PART II: THE CASE STUDIES GENERAL NOTES ON THE CASE STUDIES 5 THE EXEMPLAR Toy Story 3 6 THE COUNTEREXAMPLE Mulholland Drive 7 THREE APPROACHES Brave, Frozen and Barbie PART III: NOW ON RELEASE AND COMING ATTRACTIONS 8 WHY FAILURES SUCCEED The Cinema of Compensation 9 THE END ACKNOWLEDGMENTS NOTES FILMOGRAPHY BIBLIOGRAPHY INDEX
NOTE ON SCREEN REFERENCES PART I: THE ELEPHANT IN THE SCREENING ROOM 1 WHAT’S THE BIG SECRET? 2 THE OTHER HALF OF THE STORY A Brief History of Film as Argument 3 WHAT AND HOW FILMS ARGUE 4 ALTERNATE CONCEPTIONS PART II: THE CASE STUDIES GENERAL NOTES ON THE CASE STUDIES 5 THE EXEMPLAR Toy Story 3 6 THE COUNTEREXAMPLE Mulholland Drive 7 THREE APPROACHES Brave, Frozen and Barbie PART III: NOW ON RELEASE AND COMING ATTRACTIONS 8 WHY FAILURES SUCCEED The Cinema of Compensation 9 THE END ACKNOWLEDGMENTS NOTES FILMOGRAPHY BIBLIOGRAPHY INDEX
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