Film Production Theory: Social Impacts of Sydney 2000Most serious film books during the last twenty years have focused on theoretical issues, film history, or film analyses, leaving production to the side. This text, however, appropriate for film production courses, fills that void, opening the production process to pertinent, argumentative notions and incorporating material from Heidegger, Merleau-Ponty, and Derrida, among others. Although Geuens covers screenwriting, lighting, staging, and framing, among other production issues, he avoids the strictly vocational or "professional" approach to film teaching currently applied to most production courses. Geuens reevaluates what cinema could be, to revive its full powers and attend to the mystery of the creative process. To counter Hollywood's normative machinery, he suggests taking back from the professionals important notions they have arrogated for themselves but rarely act upon: artistry, passion, and engagement. |
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action actors actually Adorno aesthetic Alain Resnais American André Bazin artist attention audience audio Bazin become body Bresson Cahiers du Cinéma camera characters cinema close-up culture Deleuze Derrida dialogue diegetic director editing Eisenstein entire event everything example experience eyes face fact film schools filmmaking frame François Truffaut Gilles Deleuze happens Heidegger Hollywood human idea images industry instance Jacques Derrida Jean Renoir Jean-Luc Godard kind light look Martin Heidegger Maurice Merleau-Ponty meaning motion picture move narrative original painting Pascal Bonitzer Peter Milne play present Press production protagonist quoted radically reality remains Robert Bresson scene screen screenplay screenwriter script sense shooting shot signifier situation someone sound effects space speak spectators stage Steadicam story studio style technique tell theater Theory things tion track trans Univ viewers visual words writing York