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Part II: The Case Studies of Directing
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Part II: The Case Studies of Directing
by Ken Dancyger
The Director's Idea
Cover
Half Title
Title Page
Copyright
Dedication
Contents
Acknowledgments
Part I: What the Director Does
Chapter 1. Introduction
What Does the Director Do?
Who Is the Director?
How Did We Get Here
Where Are We Today?
The Structure of the Book
How I Came to Write This Book
Chapter 2. The Director’s Idea
The Unity of the Production
Chapter 3. The Competent Director
What the Audience Wants
Directors and Competence
Case Study I. The Competent Director: Antoine Fuqua (“King Arthur,” 2004)
Case Study II. The Competent Director: Simon Wincer (“The Lighthorseman,” 1087)
Chapter 4. The Good Director
How the Director’s Idea Works
A Case Study in Good Directing: Michael Mann’s “Collateral”
Adding Value to a Project
The Director’s Idea
Chapter 5. The Great Director
Voice
Three Contemporary Great Directors in America
Three Contemporary Great Directors Outside America
Chapter 6. Text Interpretation
The Case of Steinbeck’s East of Eden
Interior/Exterior
Young/Old
Male/Female
Political/Sociological/Psychological
Tone
Chapter 7. The Camera
The Shot
Camera Placement
Proximity
Objectivity
Subjective Camera Placement
Camera Height
Camera Movement
Movement from a Fixed Point
Movement from Movement
Lighting
Art Direction
Sound
The Edit
Continuity
Clarity
Dramatic Emphasis
New Ideas
Parallel Action
Emotional Guidelines
Tone
The Main Character
Conflict
Story Form
Chapter 8. The Actor
Casting
The Character Arc
An Aside about Actors as Directors
Philosophies of Acting
Outside In
Inside Out
The American School
The European School
Part II: The Case Studies of Directing
Chapter 9. Sergei Eisenstein: The Historical Dialectic
Introduction
Text Interpretation
Directing the Actor
Directing the Camera
Directing for the Edit
Chapter 10. John Ford: Poetry and Heroism
Introduction
“The Grapes of Wrath” (1940)
“My Darling Clementine” (1946)
“They Were Expendable” (1945)
“The Searchers” (1956)
Text Interpretation
Directing the Actors
Directing the Camera
Chapter 11. George Stevens: The American Character—Desire and Conscience
Introduction
“Alice Adams” (1935)
“Gunga Din” (1939)
“The More the Merrier” (1943)
“A Place in the Sun” (1951)
“Giant” (1956)
Text Interpretation
Directing the Actors
Directing the Camera
Chapter 12. Billy Wilder: Existence at Stake
Introduction
“The Lost Weekend” (1945)
“Sunset Boulevard” (1950)
“The Apartment” (1960)
“Double Indemnity” (1944)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 13. Ernst Lubitsch: The Life Force of Romance
Introduction
“Trouble in Paradise” (1932)
“Ninotchka” (1939)
“The Shop Around the Corner” (1940)
“To Be or Not To Be” (1942)
Text Interpretation
Directing the Actors
Directing the Camera
Chapter 14. Elia Kazan: Drama as Life
Introduction
“Panic in the Streets” (1950)
“On the Waterfront” (1954)
“East of Eden” (1954)
“America, America” (1963)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 15. François Truffaut: Celebrate the Child
Introduction
“The 400 Blows” (1966)
“Stolen Kisses” (1968)
“Love on the Run” (1978)
“Day for Night” (1972)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 16. Roman Polanski: The Aloneness of Existence
Introduction
“Rosemary’s Baby” (1968)
“Chinatown” (1974)
“Tess” (1981)
“The Pianist” (2002)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 17. Stanley Kubrick: The Darkness of Modern Life
Introduction
“2001: A Space Odyssey” (1968)
“Barry Lyndon” (1975)
“Full Metal Jacket” (1987)
“Eyes Wide Shut” (2000)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 18. Steven Spielberg: Childhood Forever
Introduction
“Jaws” (1975)
“Raiders of the Lost Ark” (1981)
“E.T.” (1982)
“Saving Private Ryan” (1998)
Text Interpretation
Directing the Actors
Directing the Camera
Chapter 19. Margarethe Von Trotta: Historical Life and Personal Life Intersect
Introduction
“The Lost Honor of Katharina Blum” (1975)
“The Second Awakening of Christa Klages” (1977)
“Marianne and Juliane” (1981)
“Rosenstrasse” (2004)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 20. Lukas Moodysson: Empathy and Its Limits
Introduction
“Fucking Åmål” (1998)
“Together” (2000)
“Lilja 4-Ever” (2002)
“A Hole in My Heart” (2004)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 21. Catherine Breillat: The Warfare of Sexuality
Introduction
“Romance” (1999)
“Fat Girl” (2001)
“Sex Is Comedy” (2002)
“Anatomy of Hell” (2004)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 22. Mary Harron: Celebrity and Banality
Introduction
“I Shot Andy Warhol” (1995)
“American Psycho” (2000)
Text Interpretation
Directing the Actor
Directing the Camera
Chapter 23. Conclusion
Appendix: Finding the Director’s Idea
Strategy for Reading the Script
Moving Toward Interpretation
Choosing the Director’s Idea
Index
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Chapter 8. The Actor
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Chapter 9. Sergei Eisenstein: The Historical Dialectic
Part II
Case Studies of Directing
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