Basics Film-Making
3 primary works
Book 2
Basics Film-Making 02: Screenwriting
by Robert Edgar-Hunt, John Marland, and James Richards
Published 18 May 2009
"Basics Film-Making: Screenwriting" is the second in the "Basics Film-Making" series and is aimed both at students on film production courses, as well as those wishing to write a short film. The book teaches the key elements of screenwriting through examining areas such as dialogue, sound, setting, shots and structure. It also provides advice to new film-makers on how to market their productions. This is an essential guide to screenwriting and will teach the reader to write and produce artistically satisfying shorts.
Book 3
"Basics Film-Making" introduces the essential aspects of the directorial process, focusing on the requirements of short films while also drawing on classic examples from the world of feature films. It looks at the tricky balancing act of art and business, offering guidelines and basic principles rather than instructions. Divided into the three key stages of the film-making process - pre-production, production and postproduction, the book provides students with a framework to begin directing their own productions. The chapters are interspersed with case studies investigating the working practices of leading professionals such as Robert Rodriguez, and Mike Leigh.
Book 4
Basics Film-Making 04: The Language of Film
by Robert Edgar, John Marland, and Steven Rawle
Published 1 January 2010
Basics Film-Making 04: The Language of Film explores the means by which film communicates meaning.
Most films are a mosaic of fractured images and fragmented narratives, yet we have little problem piecing them together into a complete, meaningful sequence. The average audience is capable of following the most labyrinthine plots, feeling genuine emotion for characters, and believing that their worlds continue to exist even after the film has ended.
This book discusses the stories films tell, the sign-systems they deploy, the interpretive contexts we are invited to place them in, and the range of aesthetic elements which contribute to the cinematic image.
Most films are a mosaic of fractured images and fragmented narratives, yet we have little problem piecing them together into a complete, meaningful sequence. The average audience is capable of following the most labyrinthine plots, feeling genuine emotion for characters, and believing that their worlds continue to exist even after the film has ended.
This book discusses the stories films tell, the sign-systems they deploy, the interpretive contexts we are invited to place them in, and the range of aesthetic elements which contribute to the cinematic image.