This third edition is Extensively revised and expanded in content. Naturally the creative implications of the new digital tecnology are much in evidence, but there are also new sections on the much-misunderstood subject of dramatic beats, dramatic units, and the three-act structure. There is an expanded screen grammar specifically for directors and more explicit information on the difference between neutrally recording a fictional story and telling it instead as a spirited screen storyteller. There are also new sections on the significance of the entrepreneurial producer; the fruitful triangular relationship possible between screenwriter, director, and producer; the significance of lines of tension in a scene and the potent but invisible axes a director must respect; the positive value of any documentary training to fiction makers; the increasingly valuable art of pitching, or orally proposing a story; the Dogme Group manifesto and the importance of setting creative limitations; the dangers of embedded values in filmmaking and the ethics of screen representattion; sound design in screenwriting and beyond; and the prospectus and sample reel as tools of communication in fundraising. Also new is a section on right and wrong ways to subtitle. There are entire new chapters on production design, breaking down the script, prosedures and etiquette on the set, shooting location sound, script continuity, prepoduction meetings, and working with a composer. Contents in this book include : Artistic Identity and Drama, Screencraft, The Story and Its Developmen, Aesthetics and Authorship, Preproduction, Production, Postproduction, Career track,...//Yeni
