A unique guide to the visual narrative techniques that form the "language" of filmmaking. This language is basic to the very positioning and moving of players and cameras, as well as the sequencing and pacing of images. It does not date as new technologies alter the means of capturing images on film and tape. The guidelines offered here will inform almost every choice that the director, the cinematographer, and the editor will make. Through lucid text and more than 1,500 illustrations, Arijon presents visual narrative formulas that will enlighten anyone involved in the motion picture and television industry (including producers, writers, and animators).--From publisher description.

This unique magnum opus -- 640 pages and 1,500 illustrations -- of the visual narrative techniques that form the "language of filmmaking has found an avid audience among student filmmakers everywhere. This "language" is basic to the very positioning and moving of players and cameras, as well as the sequencing and pacing of images. It does not date as new technologies alter the means of capturing images on film and tape. Basic to the very scripting of a scene or planning of a shoot Arijon's visual narrative formulas will enlighten anyone involved in the film industry -- including producers, directors, writers and animators etc. Copyright © Libri GmbH. All rights reserved.

The reader will not need more than a glance at this book to discover that it arose out of the ashes of long-forgotten controversies, and was written at a tender age when the splitting of hairs seemed to its author more important than making new discoveries. We may imagine him, as he sat in his panelled Oxford study, the work for his degree pushed to one side, floor and table laden with early writings on the film-the work of such practical masters as Pudovkin, Eisenstein and Grierson, and the scourings of critics and others whose names have not survived the years. What had they to say, these early analysts? Had they established the theory of the film as a veritable art? Had they sufficiently distinguished it from the art forms out of which it grew? Above all, had they fully appreciated the grounds of this distinction? The young author did not think so. With all the heady enthusiasm of his twenty years, and unembarrassed by any actual contact with film, he felt that he had the answer.

If you want to get to grips with editing, this book sets down, in a simple, uncomplicated way, the fundamental knowledge you will need to make a good edit between two shots. Regardless of what you are editing, the problem of learning how to be a good editor remains the same. This book concentrates on where and how an edit is made and teaches you how to answer the simple question: 'What do I need to do in order to make a good edit between two shots?' Simple, elegant, and easy to use, Grammar of the Edit is a staple of the filmmaker's library.

Whether you're just learning how to frame a shot or simply looking for a refresher, the third edition of Grammar of the Shot gives you the tools you need to build a successful visual story that flows smoothly and makes sense to your audience. Understand the basic building blocks essential for successful shot composition, screen direction, depth cues, lighting, screen direction, camera movement, and many general practices that make for richer, multi-layered visuals. Expand your visual vocabulary, help jumpstart your career in filmmaking, and watch visual examples and further instruction on the companion website, www.focalpress.com/cw/bowen. Designed as an easy-to-use reference, Grammar of the Shot presents each topic succinctly with clear photographs and diagrams illustrating the key concepts, and is a staple of any filmmaker¿s library. * A simple and clear overview of the principles of shooting motion pictures¿timeless information that will improve your work * The companion website offers video instruction and examples to bring the book's lessons to life * Together with its companion volume Grammar of the Edit, Third Edition these books are exactly what the beginning filmmaker needs New to this edition: * A full chapter devoted to lighting * More script coverage, complete with a sample script * Suggested exercises and projects for you to practice your skills * End-of-chapter quizzes to test your grasp of key concepts * New visual examples

The dark shadows and offscreen space that force us to imagine violence we cannot see. The real slaughter of animals spliced with the fictional killing of men. The missing countershot from the murder victim’s point of view. Such images, or absent images, Karla Oeler contends, distill how the murder scene challenges and changes film. Reexamining works by such filmmakers as Renoir, Hitchcock, Kubrick, Jarmusch, and Eisenstein, Oeler traces the murder scene’s intricate connections to the great breakthroughs in the theory and practice of montage and the formulation of the rules and syntax of Hollywood genre. She argues that murder plays such a central role in film because it mirrors, on multiple levels, the act of cinematic representation. Death and murder at once eradicate life and call attention to its former existence, just as cinema conveys both the reality and the absence of the objects it depicts. But murder shares with cinema not only this interplay between presence and absence, movement and stillness: unlike death, killing entails the deliberate reduction of a singular subject to a disposable object. Like cinema, it involves a crucial choice about what to cut and what to keep.

Stereographers, who represent the key new role on set liaising between director and cinematographer, believe it is a key part of their job to inform and inspire directors and producers about the potential of 3D stereo. In Exploring 3D leading directors, editors, and cinematographers of 3D film and TV production argue persuasively that 3D techniques should become a staple visual storytelling tool on a par with lighting, set design, or sound. They share their views on how this evolving set of technologies and filmmaking techniques are used to create a new aesthetic and language for visual storytelling. Highlights include interviews and images form How to Train Your Dragon, Coraline, Hugo, and The Great Gatsby.