| Acknowledgments |
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ix | |
| Introduction: Thinking on both sides of the screen |
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xi | |
| Digital technology and convergence |
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xiii | |
| Organisation of the book |
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xvi | |
| Outline of the book |
|
xvii | |
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1 By design: Art direction and mise en scene construction |
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1 | (30) |
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2 | (5) |
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7 | (3) |
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10 | (7) |
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17 | (6) |
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23 | (3) |
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Camera position, framing and composition |
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26 | (2) |
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28 | (1) |
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28 | (3) |
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2 Cinematography: Writing in light and movement |
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31 | (34) |
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34 | (9) |
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43 | (4) |
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Lenses and focal properties |
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47 | (14) |
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61 | (1) |
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62 | (3) |
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3 Soundscapes: The invisible magic of sound |
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65 | (28) |
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Distinctions between film and television sound |
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66 | (5) |
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71 | (1) |
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71 | (4) |
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75 | (5) |
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80 | (9) |
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89 | (1) |
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90 | (3) |
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4 At the edge of the cut: Editing from continuity to montage |
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93 | (32) |
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93 | (4) |
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Editing for multiple camera shoots |
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97 | (2) |
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99 | (2) |
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Editing and narrative structure |
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101 | (1) |
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102 | (1) |
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103 | (11) |
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114 | (3) |
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117 | (2) |
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119 | (2) |
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121 | (2) |
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123 | (2) |
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5 Plotting and planning: Storytelling and reviewing techniques |
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125 | (30) |
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Synopses and scene breakdowns |
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126 | (4) |
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130 | (2) |
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132 | (7) |
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Shooting scripts and storyboards |
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139 | (7) |
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146 | (5) |
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151 | (1) |
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152 | (3) |
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6 Screen narratives: Traditions and trends |
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155 | (30) |
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Contemporary film narratives |
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155 | (2) |
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157 | (3) |
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160 | (1) |
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161 | (7) |
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Complex narrative structures |
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168 | (4) |
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Television and narrative structure |
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172 | (7) |
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179 | (1) |
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180 | (2) |
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182 | (1) |
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183 | (2) |
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7 Reality and realism: Seeing is believing |
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185 | (32) |
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Realism and codes of representation in film and television |
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187 | (3) |
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190 | (6) |
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Mockumentary film and television |
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196 | (1) |
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197 | (8) |
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205 | (5) |
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The ethics of style and the spectacle of the real |
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210 | (3) |
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213 | (1) |
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213 | (4) |
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8 Genre: `Something new based on something familiar' |
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217 | (28) |
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218 | (10) |
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Differences in medium: Genre in film and television |
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228 | (2) |
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Key approaches to studying genre |
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230 | (9) |
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Applying genre analysis: Grey's Anatomy |
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239 | (3) |
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242 | (1) |
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243 | (2) |
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9 Star struck: Fandom and the discourse of celebrity |
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245 | (28) |
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247 | (2) |
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What are `stars' and `celebrities'? |
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249 | (7) |
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Audiences, identification and fandom |
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256 | (5) |
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Key approaches to studying stars and celebrity |
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261 | (7) |
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268 | (3) |
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271 | (2) |
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10 Skating the edge: Cult media and the (inter)active audience |
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273 | (30) |
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Approaches to cult media: Texts, audiences, industry |
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275 | (2) |
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277 | (2) |
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279 | (7) |
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Theories of spectatorship |
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286 | (4) |
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290 | (5) |
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Technological developments |
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295 | (1) |
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Industry and institutions |
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296 | (3) |
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299 | (1) |
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300 | (3) |
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11 The crowded screen: Transcultural influences and new directions in visual culture |
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303 | (30) |
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Hybridity: Theorising generic combination and transformation |
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304 | (3) |
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Characterisation, ideology and social change |
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307 | (3) |
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Postfeminism and action cinema heroines |
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310 | (6) |
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Postmodern characteristics of screen culture |
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316 | (9) |
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Globalisation and screen culture |
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325 | (5) |
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New directions in screen culture |
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330 | (1) |
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331 | (1) |
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332 | (1) |
| Glossary |
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333 | (21) |
| Bibliography |
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354 | (11) |
| Film credits |
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365 | (5) |
| Game credits |
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370 | (1) |
| Television credits |
|
370 | (5) |
| Index |
|
375 | |
Lisainfo e-raamatute kohta