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This introduction to film appreciation uses both contemporary and classic movies to help students develop critical skills in the analysis and evaluation of film. By suggesting what to look for and how to look for it, the text challenges students to sharpen their powers of observation, establish habits of perceptive watching, and discover complex aspects of film art that will further enhance their enjoyment of watching films. In addition it makes the link from literature to film in chapters on Thematic Elements, Fictional and Dramatic Elements and a unique chapter on Adaptions.
Table of Contents
|The Art of Watching Films The Uniqueness of Film|
|The Challenges of Film Analysis|
|The Value of Film Analysis Becoming a Receptive Viewer|
|The Film - Viewing Environment|
|Preparing to See a Film Deepening Our Responses to Films|
|Questions for Analyzing Your Responses to a Film|
|Thematic Elements Theme and Focus|
|Focus on Plot|
|Focus on Emotional Effect or Mood|
|Focus on Character|
|Focus on Style or Texture or Structure|
|Focus on Ideas Identifying the Theme|
|Evaluating the Theme|
|Questions for Analyzing Theme|
|Films for Study|
|Fictional and Dramatic Elements|
|Film Analysis and Literary Analysis|
|The Elements of a Good Story|
|A Good Story Is Unified in Plot|
|A Good Story Is Credible|
|A Good Story Is Interesting|
|A Good Story Is Both Simple and Complex|
|A Good Story Handles Emotional Material with Restraint|
|The Significance of the Title Dramatic Structure Linear, or Chronological, Structure Nonlinear|
|Structures Endings: Fine-Tuning the Dénouement Conflict Characterization|
|Characterization through Appearance|
|Characterization through Dialogue|
|Characterization through External Action|
|Characterization through Internal Action|
|Characterization through Reactions of Other Characters|
|Characterization through Contrast: Dramatic Foils|
|Characterization through Caricature and Leitmotif|
|Characterization through Choice of Name Varieties of Characters|
|Allegory Symbolism Universal and Natural Symbols|
|Creating Symbolic Meanings Symbolic Patterns and Progressions|
|Symbolic Values in Conflict Metaphors Overreading|
|Irony of Situation|
|Irony of Character|
|Irony of Setting|
|Irony of Tone|
|Questions for Analyzing Fictional and Dramatic Elements|
|DVD Film making|
|Extras Films for Study|
|Visual Design Color Versus Black and White Screen Format (Aspect Ratio)|
|Film Stock Production Design/Art Direction|
|The Script: The Starting Point Setting and Its Effects Studio Versus Location|
|Shooting Period Pieces|
|Living Spaces and Offices|
|Fantasy Worlds Costume and Makeup Design Lighting|
|The Budget’s Effect on the Film’s Look|
|Questions for Analyzing Visual Design|
|Extras Films for Study|
|The Importance of the Visual Image|
|The Cinematic Film|
|Cinematic Points of View|
|Objective Point of View|
|Subjective Point of View|
|Indirect-Subjective Point of View|
|Director’s Interpretive Point of View|
|Elements of Cinematic Composition|
|Focusing Attention on the Most Significant Object Keeping the Image in Motion|
|Creating an Illusion of Depth Specialized Cinematic Effects|
|Camera Angles Color, Diffusion, and Soft Focus|
|Special Lighting Effects|
|Movie Magic: Visual Effects in the Modern Film|
|The FX of Animated Feature Films…Especially for Adults|
|Flashback: Animation Becomes the Main Event|
|Questions for Analyzing Cinematography and Special Visual Effects|
|Mini-Movie Exercise: Cinematography Mini-Movie E|
|Table of Contents provided by Publisher. All Rights Reserved.|