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FILM STUDIES AN INTRODUCTION ED SIKOV PDF

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Film studies: an introduction. [Ed Sikov] -- Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential. Ed Sikov builds a step-by-step curriculum for the appreciationof all types of narrative cinema, detailing the essential elementsof film form and systematically.. . DOWNLOAD NOW. Film studies an introduction ed sikov. The James Bond film series is a British series of film studies an introduction ed sikov pdf spy films.


Film Studies An Introduction Ed Sikov Pdf

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Film Studies book. Read 11 reviews from the world's largest community for readers. Ed Sikov builds a step-by-step curriculum for the appreciation of all. Editorial Reviews. Review. [Sikov] has produced one of the most comprehensive and Sikov. Download it once and read it on your Kindle device, PC, phones or tablets. Film Studies: An Introduction (Film and Culture Series) by [Sikov, Ed. Read Film Studies by Ed Sikov for free with a 30 day free trial. Film Studies: An Introduction Download .. Film studies deals with the problems of reality and representation by making an initial assumption and proceeding logically from it.

If we decide to use the footage, we have made an expressive statement with it.

This is the power of mise-en-scene. A body lying nearby? An empty street? Another cop? A giant slimy alien? All of these things are possible, and all of them are going to give our audience even more information about the first shot.

Subsequent shots stand in relation to the first shot, and by the time you get to the tenth or twentieth or hundredth shot, the sheer amount of expressive information—the content of individual shots, and the relationships from shot to shot—is staggering.

By the way: A shot is the basic element of filmmaking—a piece of film run through the camera, exposed, and developed; an uninterrupted run of the camera; or an uninterrupted image on film.

Despite the use of the word scene in the term mise-en-scene , miseen-scene describes the content not only of a sequence of shots but of an individual shot. A shot is a unit of length or duration—a minimal unit of dramatic material; a scene is a longer unit usually consisting of several shots or more. Even at the basic level of a single shot, mise-en-scene yields meaning. The first shot of an important character is itself important in this regard.

Imagine that you are going to film a murder movie, and you need to introduce your audience to a woman who is going to be killed later on in the film. What does the first shot of this woman look like? What does she look like? Because of the expressive importance of mise-en-scene, every detail matters.

Every detail is a statement of meaning, whether you want it to be or not. These are precisely the questions Alfred Hitchcock faced when he made his groundbreaking film, Psycho. Is she pretty? What does that mean? What is she wearing? Do you want your audience to like her or dislike her? So what signals are you going to send to your audience to get that emotion across? Each of these props adds meaning to the shot, as does the absence of props and decorative elements.

This is why mise-en-scene is important: And every detail has a meaningful consequence. Suddenly, a completely accidental event is in your movie. Do you keep it?

Film Studies

Do you use that shot, or do you film another one? Your film is going to be slightly different whichever TAKE you choose. A take is a single recording of a shot. As it turned out, however, one of the actors accidentally kicked her in the head as he attempted to dive over her into the pool. It was obviously an accident. But the director, Howard Hawks, decided to use that take instead of any of the accident-free retakes he and his choreographer subsequently filmed.

Hawks liked that version better; it said what he wanted to say, even though it happened entirely by chance.

The shot, initially a mistake, took on expressive meaning through its inclusion in the film. But what exactly is a close-up? Or a long shot? And why do these terms matter? One way directors have of providing expressive shading to each shot they film is to vary the distance between the camera and the subject being filmed.

Every rule has its exceptions, of course, but in general, the closer the camera is to the subject, the more emotional weight the subject gains. Because the director has moved the camera close to it, the phone—once lost in the living room set—becomes not only isolated within the room but enormous on the screen.

A close-up is a shot that isolates an object in the image, making it appear relatively large. Other subject-camera-distance terms are also simple and self-explanatory. A director could conceivably usea telephoto lens on a camera that is rather distant from the subject and still create a close-up. The critical task is not to try to determine where the camera was actually placed during filming, or whether a telephoto lens was used to create the shot, but rather to begin to notice the expressive results of subject-camera distance onscreen.

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There are gradations. You can have medium close-ups , taken from the chest up; extreme long shots , which show the object or person at a vast distance surrounded by a great amount of the surrounding space.

Imagine how different we would feel about this character if, instead of seeing him in extreme long shot, we saw his weather-beaten face in close-up as the final image of the film. We would be emotionally as well as physically closer to him at that moment because we would be able to read into his face the emotions he was feeling.

His subtlest expressions—a slightly raised eyebrow, a tensing of the mouth—would fill the screen. What are the emotionally expressive qualities of each of these illustrations figs.

Each film establishes its own shot scale, just as each filmmaker establishes his or her own style. The same holds true for objects and landscape elements. In short, we must appreciate the fact that subject-camera distances are relative both within individual films—the sequence in Citizen Kane that includes the extreme close-up of Kane uttering Rosebud begins with an equally extreme long shot of his mansion—and from film to film: In addition to subject-camera distance, directors employ different camera angles to provide expressive content to the subjects they film.

The terms close-up , low-angle shot , extreme long shot , and others assume that the camera is facing the subject squarely, and for the most part shots in feature films are indeed taken straight-on. But a camera can tilt laterally on its axis, too. What might be the expressive consequences of this shot? Of everything you read in this book, the opposite also may be true at times, since every attempt to define a phenomenon necessarily reduces it by ignoring some of the quirks that make films continually interesting.

This is certainly true with any discussion of the expressive tendencies of low-angle and high-angle shots. Typically, directors use low-angle shots to aggrandize their subjects. After all, to look up to someone means that you admire that person. I think it's important to understand that this is not a book about film criticism. That is, it's not about judging the artistic merit of a fi Film Studies: That is, it's not about judging the artistic merit of a film, as a film critic might.

It's about dissecting a film to understand what the filmmakers' artistic intent might have been. Sikov covers a variety of topics, including mise-en-scene the totality of everything that appears on screen , camera issues angle, distance, movement, lighting , editing, sound, narrative structure, screenwriting, filmmakers auteur theory , acting performance, genre, and special effects.

The writing is clear and concise. Each chapter ends with an exercise you can perform on your own, where you analyze a shot or a sequence and write down your observations and findings.

Sikov includes a few anecdotes from mostly American films, but you don't need to have seen them to understand his points. He does provide a sample term paper about the film Fight Club that reveals some key plot points, so if you haven't seen Fight Club and want to, don't read that section!

Nov 15, Hugh rated it liked it. A very baseline book for film studies and film analysis. I had to read it for my film studies class and it definitely assisted in class discussion and helped expand my knowledge of the terminology of film. I think I will take away a lot of things from this book as I continue to delve into my film experience. A great stepping off point for anyone who wants to break into film analysis and it gives you things to consider about film you might have never thought of before.

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Sep 29, Alexandra rated it really liked it Shelves: This surprised me in the fact of how much of this I actually knew already, and finding out that the words "lowkey" and "highkey" were originally cinematography terms, having to do with the mood the lighting sets. Now I can't stop wondering if film scholars say things like "The room was low key lit. Mar 23, Mohamed Adwi rated it really liked it Shelves: I didn't read it to be film critic as much as I aimed to develop skill of a critical watching of movies and enhance my ability as recipient to cinema.

I can say that this book was very helpful at achieving my aim.

May 31, anjana rated it it was amazing. Oct 16, Nicky rated it it was amazing. Awesome little book. Nov 01, Cory Blystone rated it it was amazing. Beautifully explains film studies from an educational standpoint, and introduces how to critique a film using the correct wording. Jul 27, Jonathan K rated it really liked it.

A really great intro, but now I need more.

This is a good primer for learning how to analyze film, but I'd be interested to get a bit more technical. Jan 25, Steen Ledet rated it liked it Shelves: A perfectly decent film studies textbook which paradoxically gets better by not having too many illustrations. The lack of illustrations makes the book more affordable, which is a good thing considering the price average for film textbooks. Sikov's book is also concise and brief, which allows the teacher to add their own detail and their own examples, while the students won't feel drowned in readings.

Of course, this reduces the amount of detail but that can at times be a good thing. For non-fil A perfectly decent film studies textbook which paradoxically gets better by not having too many illustrations.

Film and Culture: Film Studies : An Introduction by Ed Sikov (2009, Paperback)

For non-film majors, this is a good book. Oct 03, Laura Lou rated it really liked it Shelves: This was a great introduction to film analysis and understanding. If you are already familiar with these aspects the book will be dull, otherwise it's an easy but informative book on basic film techniques.

David Azar rated it it was amazing Oct 28, Dylan Dennis rated it really liked it Jul 15, Budi Kurniawan rated it really liked it Feb 06, Curtis Chan rated it liked it Jan 27, Caitlin Clauss rated it liked it Jun 25, Sahar Mahzoni rated it really liked it Feb 26, Mike Oomens rated it it was amazing Jul 12, Debbie rated it it was amazing Oct 31, Reine Gentozala rated it it was amazing Aug 25, Richard rated it really liked it Feb 16, John rated it liked it Jul 29, Stacey Johnson-Roberts rated it really liked it Dec 03, Susan A.

Loy rated it it was amazing Aug 11, Frank Levi rated it really liked it Dec 15, The Life of Bette DavisMr.

He or she should be able to point you to those scenes or techniques that deserve special attention. Joseph McBride. Film Directing: Sikov's Film Studies: Then, when sitting down to watch a particular film, choose from among these many elements one or two that interest you. Search WorldCat Find items in libraries near you. Having spent twenty-five years teaching film studies to well over a thousand students, Ed Sikov knows exactly how to introduce the subject to first-time learners.

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