The work of the film director - Reynertson, A.J. (Audrey Joan) (London Focal Press Ltd., 1970)
1. Directing today: Film as an idea; From idea to film; The mechanical element; The human element; Early film making; Melies and Porter; Film finds an audience; Griffith; Laughter and sound; Excellence and experimentation: film in the future -- 2. Time and design: The design concept; Film as event; "Real" time; Synthetic time; After the plan; Making the time design; Size of the idea; Stages in the event; Script length and film time; Time and "audience sense"; Internal time; External time; Continuity -- 3. Realizing the time design: Second takes; Cover shots; Overlapping actions; Compression and expansion; Other design devices; Inserts; Cutaways; Reaction shots; Camera movement and time; Pivotal movement; Spatial movement -- 4. Film sound: Script words and film sounds; Sound effects; Selection; Modification; Pitch; Tone; Amplitude; Relationships of sounds; Music; Interpretative music; Creating the music track; Stock music; Composition for films; Improvised score; Pre-recorded music; Words; Pre-recording; Synchronous recording; Sound stage recording; Dialogue; Line delivery; Silence in sound; Field recording; Post-production recording; Dialogue post-recording; Narration post-recording -- 5. The object in space: Creating spatial design; Visualizing; Synthesizing; Transmutation; Composition in motion; Line; Mass; Color; Tonal value; Depth -- 6. Internal composition: Evolution in continuity; Camera angle; Comment with camera angle; Suspense and surprise; Timing shots; The "right" angle; Size of shot; Extreme long shot; Long shot; Medium shot; Closeup; Vertical position of shot; Low angle shots; High angle shots; Objective-subjective angles; Camera movement; Potential of the tilt; Potential of pan shots; Swish pan; Potential of dolly shots; Scope of trucking shots; Crane and boom; Compound camera movement; Hand held camera; Optical modifications; Long lens compression and focus; Wide angle depth and focus; Standard lens; Zoom lenses; Filming speed modifications; Special camera attitudes; Film material; dynamic frame; subject movement -- 7. External composition: Continuity; Mechanics of spatial and temporal flow; Temporal links; Visual reiteration; Audial reiteration; Spatial continuity; Frame segment and line of action; Screen direction; Establishing shots; Matching composition; bridging shots; Entrances and exits; Directorial design -- 8. Ideas in physical form: The idea; Script readings; Style; Symbol; Structure; Length; Shape; Pre-production planning; Environment and action; Visual notes; The editing plan; Master shot method; Shot-by-shot method; Planning unscripted films; Shooting; Working on the set; Making a set-up; The "take"; Retakes -- 9. The actor: Casting; Personality and character; Inanimate objects as actors; Natural events as actors; Animal actors; Human actors; The actor's contribution; Non-actors; Film acting technique; Dialogue; Gesture and movement; The director as audience; Characterization; Rehearsal -- 10. Directors and their public: The audience; Meaning and message; Escape and reality; Response; Working attitude; Types of director; Personal qualities; Understanding the medium.
Includes bibliographal references (pages 247-248) and index.
Keywords: Motion pictures -- Production and direction