Cinematic Expression
The book presents basic expressive
practices and narrative conventions established in the first centenary of
cinema. It is based on close analysis of films, classical and modern.
The 'Story Board',
which usually serves as a film production pre-planning tool, has been adapted
as a research instrument. Schemes of shot drawings have been specially designed
to enable a close scrutiny of narrative and cinematic problems.
Timing, screen directions,
graphical arrangments, symmetrical repetitions, styles of camera motion and
editing rhythms have been analysed in terms of the value they add to thematic
articulation. The potentialities of the film medium to utilize space and time
as expressive elements have been examined.
Patterns of Cinematic Expression and theoretical conclusions about their narrative functioning are presented in the book through sequences from the following films:
Altman. The Player |
Lean. Bridge on River Kwai |
Annaud. Name of the |
Losey. |
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Malle. Fatal Attraction |
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Reisz. The French L.'s Woman |
Bertolucci. The Last Emperor |
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Taviani. Padre Padrone |
Forman. Hair |
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Varda. Vagabonde |
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Vignie. Return of |
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Kieslowski. |
Wells. |
Kieslowski. Three Colors: Red |
Wier. Green Card |
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Wier. The Witness |
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Wise. The Sound of Music |
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Zinnemann. High Noon |
The book
is based on research conducted for over a decade at
The book has been published in Hebrew.
An English version is forthcoming.
See Hebrew Version
For more information Email:
optimus@kolnoa.net