Action and Image: Dramatic Structure in Cinema
The concern of film theorists to read films as texts has led them to neglect the equally pressing need to see films as drama. Roy Armes sets out to redress the balance by drawing on the insights offered by recent developments in the theoretical study of drama and performance.
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Part one FILM AS DRAMA
Readings and viewings
Showing and telling
Text and performance
Stage and screen
Part two PLOTS
North by Northwest
11 shots action actors African Alain Resnais Anna Antonioni argues audience bandit beginning Big Sleep Bresson camera Carmen causality ceddo Cell characters cinema Claudia climax confrontation conventional crucial David Bordwell depicted derniere a Marienbad director dramatic structure enacted escape example Ferdinand fiction film theory film's finds Fontaine's Geiger's Godard Hollywood Hollywood movie identity images imam implied individual involved Jean-Luc Godard Jost Kaplan L'annee derniere L'avventura logic Marianne Martin Esslin minutes narration narrative North by Northwest novel Orsini pattern Peter Brook Pierrot le fou play or film plot present protagonist Rashomon reader realisation reality Robbe-Grillet role samurai Sandro scene sense sequence shaped shooting shots Fontaine shots Marlowe shots number shots Thornhill space spectator stage and screen stage drama Sternwood story storytelling telling theatre theorists Thornhill traditional Umberto Eco unfolding Vandamm Village Vivian voice voice-over woodcutter woodcutter's words written text