| Suject 主 題 |
Books to Read 文 選 |
Films to Watch 電 影 選 |
Film History
電影史 |
--David Bordwell & Kristin Thompson. Film Art. Ch.11. 《電影藝術》第十一章
--Tim Dirk. "Film History by Decades"
--Kristin Thompson & David Bordwell. Film History.《電影百年發展史》
--Serge Toubiana ed. 100 journees qui ont fait le cinema.《電光幻影一百年》 |
--Landmarks of Early Film (LD-0137)
--Personal Journey with Martin Scorsese Through American Movies, A (1995, LD-0353)
--Hollywood Mavericks (1990, LD-0290) |
Film Production/
Industry
電影製作/工業 |
--Graeme Turner. Film as Social Practice. Ch. 1. 《電影的社會實踐》第一章
--David Bordwell & Kristin Thompson. Film Art. Ch.1. 《電影藝術》第一章
--Janet Wasko. Hollywood in the Information Age. 《超越大銀幕：資訊時代的好萊塢》 |
--Player, the《天生大玩家》 (1992, LD-0187)
--Stunt Man, the 《特技演員》(1980, 9000726/9004615)
MORE: Hearts of Darkness: A Filmmaker''s Apocalypse, Ed Wood, And God Spoke, Living in Oblivion |
Film Narrative
電影敘事 |
--Graeme Turner. Film as Social Practice. Ch. 4. 《電影的社會實踐》第四章
--David Bordwell. Narration in the Fiction Film. 《電影敘事》
--Louis Giannetti. Understanding Movies. Ch. 8. 《認識電影》第八章
--David Bordwell & Kristin Thompson. Film Art. Ch.3. 《電影藝術》第三章 |
--Citizen Kane《大國民》 (1941, 9000177)
--Casablanca《北非諜影》(1942, LD-0046) |
Film Genres
電影類型 |
--Thomas Schatz. Hollywood Genres. Ch. 1-2. 《好萊塢類型電影》第一、二章
--Tim Dirk''s "Film Genres" |
--Blade Runner 《銀翼殺手》(1982, LD-0033)
--Singin'' In the Rain《雨中歡唱》 (1952, LD-0220)
MORE: Terminator2/Last Action Hero (action film), Mel Brooks'' genre parody films |
Camera/Shot
電影攝影/鏡頭 |
--Louis Giannetti. Understanding Movies. Ch. 1. 《認識電影》第一、三章
--David Bordwell & Kristin Thompson. Film Art. Ch. 6. 《電影藝術》第六章 |
--Visions of Light: the Art of Cinematographer (1992, LD-0256)
--Lumiere and Company《向盧米埃致敬》 (1995)
--Grand Illusion《大幻影》(1037, LD-0105) |
Mise-en-scene
場面調度 |
--Louis Giannetti. Understanding Movies. Ch. 2. 《認識電影》第二章
--David Bordwell & Kristin Thompson. Film Art. Ch. 5. 《電影藝術》第五章 |
--Mon Oncle 《我的舅舅》(1958, LD-0166)
--Metropolis 《大都會》(1927, 9000165)
--Bicycle Thief 《單車失竊記》(1948, 9000740) |
Editing/Montage
剪接/蒙太奇 |
--Louis Giannetti. Understanding Movies. Ch. 4. 《認識電影》第四章
--David Bordwell & Kristin Thompson. Film Art. Ch. 7. 《電影藝術》第七章 |
--Battleship Potemkin, the 《波坦金戰艦》(1925, 9000182)
--Birht of A Nation, the 《國家的誕生》(1915, 9000147) |
Sound
聲音 |
--Louis Giannetti. Understanding Movies. Ch. 5. 《認識電影》第五章
--David Bordwell & Kristin Thompson. Film Art. Ch. 8. 《電影藝術》第八章 |
--Psycho《驚魂記》(1960, 9000152)
--Lisbon Story《里斯本故事》 (1994)
--Volere Volare《愛到冒煙》 (1991, 9000733) |
Audeience/Stars
電影觀眾/明星 |
--Graeme Turner. Film as Social Practice. Ch. 5. 《電影的社會實踐》第五章 |
|
Form and
Ideology
形式與意
識型態 |
--Graeme Turner. Film as Social Practice. Ch. 3, 6. 《電影的社會實踐》第三、六章
--David Bordwell & Kristin Thompson. Film Art. Ch. 2. 《電影藝術》第二章
-- |
--The Searchers《搜索者》(1956, LD-0213)
--When Night is Falling (1995,
--When Harry Met Sally 1989,
--Robocop (1987, |
Filmed image
(of a man) |
". . . images are culturally charged; the camera angle employed, his position within the frame, the use of lighting to highlight certain aspects, any effect achieved by colour, tinting, or processing, would all have the potential for social meaning. (46) |
| Glossary: |
Grammar
of film |
- each shot is related to those adjacent to it.
- unlike the grammar of written language which is to a large degreee explicitly culturally regulated, relationships between shots in a film have to be constructed through less stable sets of conventions. Much depends not only on the audience''s ''competencies''. . ., but also on the film-maker''s ability to construct any relationships which are not governed by convention. (50-51) [. . . through constructing relationships between shots (montage) or through constructing relationships within shots (mise-en-scene)] (51)
|
|
- Film stock-- its colors (e.g. black and white, color); its quality (e.g. grainy, of poor definition, blurred, like newsreel or documentary)
|
Visions of Light: The Art of Cinematography |
Camera
angles |
1. height and distance from the subject |
--e.g. overhead, helicopter or crane shots, turn film into a performance art |
| |
2. --panning, tiling, rolling |
-- panning: the spector''s survey of the scene round them.
--rolling, gives the illusion of the world. . . being tipped on its side . |
| |
3. --point-of-view shot |
enhancing audience''s identification with a character''s experience |
Camera
focus |
1. close-up |
enhancing audience''s identification with a character''s experience |
| |
2. alteration in focus |
Most films aim at a very deep field of focus in which everything from the foreground to the far background is clear and sharp. |
| |
3. soft focus on a character or background |
romantic or lyrical effect |
| |
4. ''rack'' focus (one face in focus, the other blurred) |
direct the audience''s attention from one character to another |
| Frame |
enclosing, or opening out space,
multiple frame |
|
| Lighting |
two main objectives: expressive, realist
-- high-key lighting |
little shadow; realist |
| |
--low-key lighting |
has sharp, deep shadows; expressive |
| Sound |
--diegetic use of sound
--transitional device
--emotional background music |
|
Mise-en-
scene |
"everything-that-is-in-the-frame" of a shot
--set design, costumes, the arrangement and movements of figures, the spatial relations, and the placement of objects which have become important within the narrative. |
--construct a social world
--enhance narrative
--provide clues in a thriller |
| Editing |
--montage;
--fade out
--dissolve
--cut from one shot to the next
--shot-reverse shot convention
--establishing shots |
--sudden cut: produce shock,
--to soften the cut: overlapping sound, the continuity of motivation. |
