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THE 100 MOST POWERFUL FILM CONVENTIONSEVERY FILMMAKER MUST KNOW
JENNIFER VAN SIJLL
v
CONTENTS
Acknowledgments
viii
Preface: Cinematic Storytelling
x
Introduction
xi
Cinematic Storytelling: The Screenwriter
xi
The Problem
xi
What Does This Mean for the Screenwriter?
xi
Script Excerpts
xi
Cinematic Storytelling: The Director
xii
The Problem
xii
What Does This Mean for the Director?
xii
1. Space: 2-D & 3-D Screen Direction
1
Introduction
2
1. X-Axis (Horizontal)
Strangers on a Train
4
2. Y-Axis (Vertical)
Strangers on a Train
6
3. XY-Axes (Diagonals)
Metropolis, The Piano
8
4. Z-Axis (Depth-of-Field)
Citizen Kane
10
5. Z-Axis (Planes of Action)
Dolores Claiborne
12
6. Z-Axis (Rack Focus)
The Graduate
14
2. Frame: Composition
17
Introduction
18
7. Directing the Eye
Citizen Kane
20
8. Imbalance
Disco Pigs
22
9. Balance
Disco Pigs
24
10. Orientation
Apocalypse Now, Barton Fink
26
11. Size
Metropolis
29
3. Shape Within the Frame
31
Introduction
32
12. Circular
The Conversation
34
13. Linear
Fargo
36
14. Triangular
Witness
38
15. Rectangular
The Searchers
40
16. Organic versus Geometric
Witness
42
4. Editing: Pudovkin’s Five Editing Techniques
45
Introduction: A Little Theory
46
Five Editing Principles
46
“On Editing”
46
Editing: Additional Techniques
47
17. Montage
Citizen Kane
48
18. Montage
Adaptation
50
19. Assembly
Psycho
52
20. Mise-en-Scène
Psycho
54
21. Intercutting
Cabaret
56
22. Split Screen
Kill Bill Vol. 1
58
23. Dissolves
Citizen Kane
60
24. Dissolves
Barton Fink
62
25. Smash Cut
American Beauty
64
5. Time
67
Introduction
68
26. Expanding Time through Pacing
Barton Fink
70
27. Contrast of Time (Pacing and
vi
Intercutting)
Pulp Fiction
72
28. Expanding Time —Overlapping Action
Pulp Fiction
74
29. Slo-Motion
Raging Bull
76
30. Fast-Motion (Time Compression)
Amélie
78
31. Flashback
Sunset Boulevard
80
32. Flashforward
The
People vs. Larry Flynt
82
33. Freeze-Frame
Butch Cassidy and
the SundanceKid, Thelma and Louise,The 400 Blows
84
34. Visual Foreshadowing
The Piano
86
6. Sound Effects
89
Introduction
90
35. Realistic Sound (Diegetic) (Character)
Klute
92
36. Realistic Sound (Diegetic)(Emotional Response)
ET
94
37. Expressive Sound (Diegetic)(Outer World)
Barton Fink
96
38. Surreal Sound (Meta-Diegetic)(Inner World)
Barton Fink
98
7. Music
101
39. Lyrics as Narrator
Apocalypse Now
102
40. Symbolic Use of Music
Shawshank Redemption
104
41. Music as a Moveable Prop
Out of Africa
106
8. Scene Transitions (Audio and Visual)
109
Introduction
110
42. Matching Audio Segue
Sorry, Wrong Number,Fatal Attraction
112
43. Audio Bridge (Dialog)
Citizen Kane
114
44. Audio Bridge (Sound Effects)
Barton Fink
116
45. Visual Match-Cut (GraphicSimilarity)
Single White Female
118
46. Visual Match-Cut (Patternand Color)
Citizen Kane
120
47. Visual Match-Cut (Action)
2001: A Space Odyssey
122
48. Visual Match-Cut (Idea)
Requiem for a Dream
124
49. Visual Match-Cut (Idea)
Harold and Maude
126
50. Extended Match Dissolve(Time Transition)
Titanic
128
51. Disrupted Match-Cut
Bound
130
9. Camera Lenses
133
52. Wide-Angle
Citizen Kane
134
53. Wide-Angle (Vistas andEstablishing Shots)
The Piano
136
54. Telephoto
The Graduate
138
55. Fisheye
Requiem for a Dream
140
56. Prop Lenses within the Scene(Fisheye)
Citizen Kane
142
57. Objects
Dances with Wolves
144
10. Camera Position
147
58. Close-up (CU)
The Piano
148
59. Extreme Close-up (ECU)
Kill Bill Vol. 1
150
60. Two-Shot
The Piano
152
61. Over-the-Shoulder Shot (OTS)
Chinatown, The Piano
154
62. Point-of-View (POV)
Halloween
156
63.
Point-of-View (POV)
Jaws
158
64. High-Angle
Citizen Kane
160
65. Low-Angle
ET
162
66. Hi-Lo Combined
Psycho
164
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