电影导演方法 Film Directing Fundamentals 文字版[PDF]

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资源信息： 中文名: 电影导演方法 原名: Film Directing Fundamentals 作者: (美)Nicholas Proferes 译者: 无 图书分类: 文化 资源格式: PDF 版本: 文字版 出版社: 焦点出版社 书号: ISBN: 0240805623 发行时间: 2006年 地区: 美国 语言: 英文 概述:

内容简介 　　本书从零开始，讲述了基本概念和系统的方法学，包括在银幕上充分发挥剧本最大戏剧潜力的系统方法学，以及明晰的把剧本转化为电影的方法学，其视角在导演书籍中独树一帜。在剧本蓝图的基础上，本书引导读者使用具体技巧来分析剧本中的元素，并把这些元素转化成视觉故事。书中包含了阐明这些技巧所需的剧本实例。 　　本书对三部故事片进行了深入分析，让读者有机会看到并明白如何在自己的作品中使用戏剧性元素。同时本书引领我们几乎一个镜头一个镜头地研究希区柯克的《美人计》、费里尼的《八又二分之一》和彼得·威尔的《楚门的世界》中的戏剧结构和叙事者声音，并分析了其他11部故事片的风格和戏剧结构。 作者简介 　　本书作者Nicholas T. Proferes是哥伦比亚大学艺术学院电影专业的教授，执教超过25年。他在电影领域的专业涉及面非常广，曾在纪录片和故事片中担任导演、摄影师、剪辑师、制片人等职务。通过多年的教学与研究，他提出了通过戏剧单元、叙事节拍(导演节拍)和戏剧性场面环绕的支点来组织动作的电影导演方法，着眼于首先明确故事(剧本检查工作)，然后帮助导演编排故事前进及戏剧发展来训练导演在情绪上吸引观众的能力。 内容截图

目录: CONTENTS FOREWORD xi ACKNOWLEDGMENTS xiii PART ONE LEARNING HOW TO DRAW Chapter 1 INTRODUCTION TO FILM LANGUAGE AND GRAMMAR 3 The Film World 3 Film Language 3 Shots 4 Film Grammar 5 The 180-Degree Rule 5 The 30-Degree Rule 8 Screen Direction 9 Film Time 11 Compression 11 Elaboration 12 Familiar Images 12 Chapter 2 INTRODUCTION TO THE DRAMATIC ELEMENTS EMBEDDED IN THE SCREENPLAY 14 Spines 14 Whose Film Is It? 16 Character 16 Circumstance 17 Dynamic Relationships 17 Wants 18 Expectations 18 Actions 19 Activity 19 Acting Beats 19 Chapter 3 ORGANIZING ACTION IN A DRAMATIC SCENE 21 Dramatic Blocks 21 Narrative Beats 21 The Fulcrum 22 Dramatic Elements in Notorious Patio Scene 22 Notorious Patio Scene Annotated 23 Chapter 4 STAGING 30 Main Functions 30 Patterns of Dramatic Movement 32 Changing the Stage Within a Scene 33 Staging as Part of a Film’s Design 34 Working with a Location Floor Plan 34 Floor Plan and Staging for Notorious Patio Scene 34 Chapter 5 THE CAMERA 40 The Camera as Narrator 40 The Reveal 40 Entrances 41 The Objective Camera 41 The Subjective Camera 41 Where Do I Put It? 42 Visual Design 45 Style 46 Coverage 46 Camera Height 47 Lenses 48 Composition 49 Where to Begin? 49 Working Toward Specificity in Visualization 50 Looking for Order 50 Dramatic Blocks and the Camera 51 Shot Lists and Storyboards 51 The Prose Storyboard 51 Chapter 6 CAMERA IN NOTORIOUS PATIO SCENE 54 First Dramatic Block 54 Second Dramatic Block 59 Third Dramatic Block 61 Fourth Dramatic Block and Fulcrum 66 Fifth Dramatic Block 67 PART TWO MAKING YOUR FILM Chapter 7 DETECTIVE WORK ON SCRIPTS 77 Reading Your Screenplay 77 A Piece of Apple Pie Screenplay 78 Whose Film Is It? 83 Character 83 Circumstance 83 Spines for A Piece of Apple Pie 84 Dynamic Relationships 85 viii FILM DIRECTING FUNDAMENTALS Wants 85 Actions 86 Acting Beats 86 Activity 86 Tone for A Piece of Apple Pie 86 Breaking A Piece of Apple Pie into Actions 87 Designing a Scene 87 Visualization 88 Identifying the Fulcrum and Dramatic Blocks 88 Supplying Narrative Beats to A Piece of Apple Pie 89 Director’s Notebook 96 Chapter 8 STAGING AND CAMERA FOR A PIECE OF APPLE PIE 97 Staging 97 Camera 100 Conclusions 130 Chapter 9 MARKING SHOOTING SCRIPTS WITH CAMERA SETUPS 131 Chapter 10 WORKING WITH ACTORS 139 Casting 140 First Read-Through 143 Directing During Rehearsals 144 Directing Actors on the Set 147 Chapter 11 MANAGERIAL RESPONSIBILITIES OF THE DIRECTOR 150 Delegating Authority While Accepting Responsibility 150 The Producer 151 The Assistant Director 151 A Realistic Shooting Schedule 152 Working with the Crew 153 Working with the Director of Photography 153 Chapter 12 POSTPRODUCTION 154 Editing 154 Music and Sound 156 Locking Picture, or How Do You Know When It’s Over? 157 An Audience and a Big Screen 157 PART THREE LEARNING THE CRAFT THROUGH FILM ANALYSIS Chapter 13 ALFRED HITCHCOCK’S NOTORIOUS 161 Overview of Style and Design 161 First Act 162 Second Act 165 Third Act 178 Summary 179 Contents ix Chapter 14 PETER WEIR’S THE TRUMAN SHOW 180 Overview of Style and Design 180 First Act 182 Second Act 187 Third Act 199 Summary 204 Chapter 15 FEDERICO FELLINI’S 8-1/2 205 A Masterpiece? 205 The Director as Auteur 205 Dramatic Construction 206 Overview of Style and Design 206 Detective Work 208 First Act 209 Second Act 220 Third Act 235 Summary 238 Chapter 16 STYLES AND DRAMATIC STRUCTURES 240 Tokyo Story, Yasujiro Ozu (1953, Japan) 240 Some Like It Hot, Billy Wilder (1959, USA) 242 The Battle of Algiers, Gillo Pontecorvo (1965, France) 244 Red, Krzysztof Kieslowski (1994, Poland, France, Switzerland) 245 Sex, Lies, and Videotape, Steven Soderbergh (1989, USA) 247 Shall We Dance?, Masayuki Suo (1996, Japan) 249 The Celebration, Thomas Vinterberg (1998, Denmark) 251 The Insider, Michael Mann (1999, USA) 253 The Thin Red Line, Terrence Malick (1998, USA) 255 Chapter 17 WHAT NEXT? 257 Writing for the Director 258 Begin Thinking About Your Story 258 Concocting Your Feature Screenplay 260 “Writing” Scenes with Actors 260 Shooting Your Film Before You Finish Writing It 261 The Final Script 261 Shooting Without a Screenplay? 261 Questions Directors Should Ask About Their Screenplays 262 Building Directorial Muscles 263 Directing Exercises 263 Make A Piece of Apple Pie Your Own 269 Conclusion 269 BIBLIOGRAPHY 271 INDEX 272