By Gotham Writers' Workshop
En el más puro estilo norteamericano, "Escribir cine: Guía práctica para guionistas de los angeles famosa escuela de escritores de Nueva York" es un libro riguroso, ya que está escrito por profesores cualificados y expertos, y a l. a. vez claro, práctico y muy entretenido. Contiene lecciones sobre los elementos fundamentales del oficio de guionista y profundiza en temas tan cruciales como l. a. descripción, l. a. voz, el tono y el tema; realiza también un análisis a fondo de cinco guiones brillantes, Jungla de Cristal, Thelma & Louise, Tootsie, Entre copas y Cadena perpetua, y proporciona estrategias para vender el guión y entrar en el mundo del cine. Además en cada capítulo se proponen ejercicios que paso a paso llevan al alumno desde los angeles suggestion inicial al texto completo de un guión pulido y realizable.
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Additional info for Escribir cine: Guía práctica para guionistas de la famosa escuela de escritores de Nueva York
Nonetheless, much discussion of the power of ﬁlm seeks to explain its power in terms of something unique to the cinema. Perhaps ﬁlms have a powerful hold over us because they are realistic in a way that other art forms are not. A painting is artiﬁcial no matter how realistic a representation it offers, because it is still; it represents a frozen moment, but we don’t experience the world as a succession of frozen moments. It is not possible for a painting not to be artiﬁcial in this way. A ﬁlm, however, depicts a world in what seems like a fundamentally more realistic mode.
Can philosophy change, or has philosophy changed, the nature of ﬁlm? Can philosophy do ﬁlm? What are the strongest objections to the claim that it can? The bold thesis claims that a ﬁlm’s contribution to philosophy, if genuine, must be irreplaceable by or irreducible to any other forms of communication. What is the signiﬁcance and plausibility of the thesis? ” Are such ﬁlms suitable for philosophical inquiry? If so, how; if not, why not? “Emotions inﬂuence belief, as do desires. This is a fact that cinema often exploits, and one that largely accounts for its ability to engage an audience.
The paradox of ﬁction can be formulated as follows. 1 2 Emotion requires belief in the reality of its object. When watching a ﬁlm or reading a book we are aware that the characters do not really exist (except as ﬁctions) and the situations are not really occurring. Philosophy and Film Spectatorship 35 3 Nevertheless, we feel emotion, often strong emotion, when reading a book or watching a movie. Murray Smith (1995a: 56) says: The problem, as Radford (1975; 1977) sees it, “is that people can be moved by ﬁctional suffering given their brute behaviour in other contexts where belief in the reality of the suffering described or witnessed is necessary for the response” (Radford 1975: 72).