Basics Film-Making 04: The Language of Film explores the means by which film communicates meaning.
Most films are a mosaic of fractured images and fragmented narratives, yet we have little problem piecing them together into a complete, meaningful sequence. The average audience is capable of following the most labyrinthine plots, feeling genuine emotion for characters, and believing that their worlds continue to exist even after the film has ended.
This book discusses the stories films tell, the sign-systems they deploy, the interpretive contexts we are invited to place them in, and the range of aesthetic elements which contribute to the cinematic image.
I find it so fascinating how film is not only natural for the viewer, but for the creator. The ideas that flow aren’t just caught fish. They’re subconscious, direct consequences of thoughts disguised as discoveries, as if they came from nowhere, when in reality, they were always there, waiting to surface.
“Casablanca represents the high-water mark of a certain brand of romantic escapism. It inevitably stands in the shadows behind any movie that seeks to occupy the same territory. Great popular films haunt both the imagination of movie-goers and the movie-making that follows them. Invoked or not, Bogart is there.“
Este libro ofrece las bases para entender el lenguaje cinematográfico, no es una guía para hacer cine. Se limita a describir los fundamentos y no va más allá, pero los ejemplifica con casos de películas, tanto conocidas como desconocidas, y ofrece lecturas complementarias para profundizar en los temas. Estos, en algunos casos están expuestos claramente, y en otros parecen estar fuera de contexto y sin unidad con el todo. Es una buena opción para iniciarse en el análisis cinematográfico, pero si tu interés es la realización, se queda corto.
A great book for knowing cinema and how it interacts with people. Some parts are very brief but most of the book bring us great knowledge about diffident aspects of movies.