| Introduction |
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xiii | |
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Chapter 1 The Most Popular Art Form |
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1 | (28) |
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1 | (2) |
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Why Are Films So Popular? |
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3 | (3) |
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6 | (2) |
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Where Are Films Seen--and by Whom? |
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8 | (2) |
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Which Films Are the Most Popular? |
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10 | (1) |
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11 | (3) |
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14 | (2) |
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Is the Most Popular Film the Best? |
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16 | (5) |
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21 | (4) |
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Career Profile: Visual Effects Supervisor |
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25 | (4) |
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Chapter 2 The World of Film |
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29 | (32) |
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29 | (1) |
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30 | (4) |
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34 | (13) |
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47 | (5) |
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An Examination of Canadian Film |
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52 | (2) |
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Expanding Your Understanding of Film |
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54 | (4) |
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Career Profile: Independent Filmmaker |
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58 | (3) |
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Chapter 3 Motion Pictures for Television and Video Release |
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61 | (20) |
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Making Movies for Television |
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61 | (3) |
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The American Experience Series |
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64 | (1) |
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Making Effective Historical Documentaries |
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65 | (2) |
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67 | (2) |
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69 | (1) |
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70 | (2) |
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Bringing the Past to Life |
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72 | (3) |
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Career Profile: Actor, James Earl Jones |
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75 | (2) |
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Career Profile: Script Supervisor, Gillian Murphy |
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77 | (4) |
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Chapter 4 The Language of Film |
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81 | (28) |
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81 | (1) |
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82 | (1) |
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83 | (8) |
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91 | (1) |
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91 | (1) |
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92 | (5) |
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97 | (1) |
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Color vs. Black and White |
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98 | (2) |
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100 | (5) |
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Career Profile: Screenwriter, Callie Khouri |
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105 | (4) |
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Chapter 5 Editing the Film |
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109 | (42) |
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109 | (3) |
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112 | (1) |
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Reading: Magic Cuts, Richard Breyer |
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113 | (6) |
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119 | (1) |
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120 | (2) |
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Reading: Post Production Editing, David Lewis Yewdall, M.P.S.E. |
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122 | (11) |
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133 | (3) |
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136 | (2) |
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138 | (5) |
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Career Profile: Film Editor, Sheldon Kane |
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143 | (2) |
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Career Profile: Makeup Artist, Michael Westmore |
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Career Profile: Costume Designer, Robert Blackman |
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147 | (4) |
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Chapter 6 From Script to Film |
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151 | (20) |
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154 | (8) |
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162 | (4) |
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Career Profile: Production Designer, Charles Rosen |
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166 | (2) |
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Career Profile: Producer, Howard Kazanjian |
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168 | (3) |
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Chapter 7 Directors and Directing |
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171 | (30) |
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The Director's Personality |
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171 | (2) |
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173 | (2) |
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The Director's Responsibilities |
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175 | (1) |
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176 | (1) |
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177 | (3) |
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180 | (4) |
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184 | (3) |
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The Rise of the Independent Filmmaker |
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187 | (3) |
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Directing Television Movies and Series |
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190 | (2) |
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192 | (3) |
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195 | (4) |
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Career Profile: Director, Ivan Reitman |
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199 | (2) |
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Chapter 8 Viewing the Film |
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201 | (16) |
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201 | (3) |
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204 | (1) |
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205 | (6) |
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Career Profile: Actor, Alfre Woodard |
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211 | (3) |
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Career Profile: Actor, Edward James Olmos |
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214 | (3) |
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Chapter 9 Perceiving the Film |
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217 | (22) |
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The Importance of Perception |
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217 | (2) |
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219 | (1) |
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220 | (3) |
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Factors That Influence What We See |
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223 | (2) |
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Career Profile: Director of Photography, Vilmos Zsigmond |
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225 | (14) |
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Chapter 10 Evaluating the Film |
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239 | (34) |
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Learning to Criticize a Film |
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239 | (4) |
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243 | (15) |
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How Does the Film Work for You? |
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258 | (1) |
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258 | (1) |
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259 | (1) |
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260 | (2) |
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262 | (4) |
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Career Profile: Film Composer, Patrick Williams |
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266 | (2) |
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Career Profile: Actor, Jack Lemmon |
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268 | (2) |
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Career Profile: Actor, Debbie Reynolds |
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270 | (3) |
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Chapter 11 Discussing the Film |
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273 | (40) |
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Reacting to What Is Seen and Heard |
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273 | (3) |
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Approaches to Studying Film |
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276 | (6) |
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282 | (4) |
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Expressing Your Reactions: Examples |
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286 | (23) |
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Career Profile: Casting Director, Reuben Cannon |
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309 | (4) |
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Chapter 12 Reviewing the Film |
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313 | (26) |
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How Do Professionals Do It? |
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313 | (2) |
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What Do Critics Look For? |
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315 | (1) |
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318 | (1) |
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How Four Critics Reviewed My Family |
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319 | (5) |
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324 | (1) |
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325 | (11) |
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Career Profile: Film Critic, Gene Siskel |
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336 | (3) |
| Appendix: National Film Registry (Library of Congress film list) |
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339 | (4) |
| Index |
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343 | |
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