By Alexander Mackendrick
Hugely praised through James Mangold and different ex-students, Alexander Mackendrick's time at Cal Arts ended in a set of mimeographed papers and illustrations that experience ultimately made it into print. the 1st 1/2 the publication gathers Mackendrick's lectures on screenplay writing; the second one part is extra quite often approximately movie reviews. The e-book additionally incorporates a fit pattern of the well-known be aware card slogans that conceal the partitions of his place of work.
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Extra info for On Film-Making
Example text
As a great deal of television drama seems to prove, two-handed scenes can become so much the ping-pong game of service and return that monotony sets in. Note, however, that for characters to create dramatic tension, they need not always clash. Romeo and ]uliet‘s balcony scene, for example is a E1 WHAT IS A STORY? I} 3. Mackendrick was l"‘P"~'~“°f-l _l‘)' “"7" "5" of the foil in all forms of §mml_|“ngv H‘, would hand our to stu*3‘-‘"“ =' **‘l°~"i"" "l ';;':':: Ynrkeras examples of hw t<{t~‘l| iwtiv Charl AJJMW-S use of ‘the foil.
H. Butcher translation (Dover. I997). p. ti. ’ 2.. évi-Strauss. ), p. :1. level of his or her understanding. While the stork story is usable, the biological data must wait till the child can cope with it. One can argue, therefore, that such a tale — like the myths of prehistoric times functions as a ‘poetic’ explanation of concepts that are beyond the limited intellectual capacities of the listeners to deal with. This may be how drama began. “ The Greek mind of Homeric days personified all its beliefs.
The writer and director are able to focus attention on the rhythm of a scene's subtext. By doing so. and by making use of the fact that the camera is able to relate things to audiences subliminally rather than literally. it is possible to tell more than one story at once. Consider this simple example from Truffaut, who writes of the ‘mundane occasions [such] as dinner and cocktail parties, or of any meeting between casual acquaintances‘: ll we observe any such gathering, it is clear that the words exchanged between the guests are superficial formalities and quite meaningless, THE PRE-VERBAL LANGUAGE OF CINEMA > x ii 7 4.