MARC record from Internet Archive

LEADER: 03890cam a2200625 a 4500
001 3976274
003 NOBLE
005 20170517084352.0
008 031209s2004 enka b 000 0 eng
010 $a 2005391464
035 $a(OCoLC)56957025
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015 $aGBA4Y3991$2bnb
016 7 $a006936587$2Uk
016 7 $a0571215610$2Uk
019 $a55891778$a56461944$a61296525
020 $a0571215610
020 $a9780571215614
020 $a0571211259$q(paperback)
020 $a9780571211258$q(paperback)
035 $a(OCoLC)56957025$z(OCoLC)55891778$z(OCoLC)56461944$z(OCoLC)61296525
050 00 $aPN1995.9.P7$bM23 2004
082 00 $a791.4302/33$222
084 $a24.33$2bcl
049 $aNOGA
100 1 $aMackendrick, Alexander,$d1912-1993.
245 10 $aOn film-making :$ban introduction to the craft of the director /$cAlexander Mackendrick ; edited by Paul Cronin ; foreword by Martin Scorsese.
260 $aLondon :$bFaber and Faber,$c2004.
300 $axxxix, 293 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
520 $aAn analysis of the director's art and craft, from one of the most revered of all film school directors. Mackendrick directed classic Ealing comedies plus a Hollywood masterpiece, Sweet Smell of Success. But after retiring from film-making in 1969, he spent nearly 25 years teaching his craft at the California Institute of the Arts in Los Angeles. Mackendrick produced hundreds of pages of handouts and sketches, designed to guide his students to a finer understanding of how to write a story, and then use those devices peculiar to cinema in order to tell that story as effectively as possible. Gathered and edited in this collection, his teachings reveal that he had the talent not only to make great films, but also to articulate the process with a clarity and insight that will still inspire any aspiring filmmaker. --From publisher description.
504 $aIncludes bibliographical references.
505 00 $tForeword /$rMartin Scorsese --$gpt. 1.$tDramatic construction --$tThe pre-verbal language of cinema --$tWhat is a story? --$tExposition --$tModernist trends --$tA technique for having ideas --$tSlogans for the screenwriter's wall --$tExercises for the student of dramatic construction --$tWhen not to write a shooting script --$tOnce upon a time ... --$tActivity versus action --$tDramatic irony --$tWilliam Archer revisited --$tPlausibility and willing suspension of disbelief --$tDensity and subplots in Sweet smell of success --$tCutting dialogue --$tThe Solomon exercise --$tThe director and the actor --$gpt. 2.$tFilm grammar --$tThe invisible imaginary ubiquitous winged witness --$tHow to be meaningless --$tMental geography.
650 0 $aMotion pictures$xProduction and direction.
650 4 $aMotion pictures.
650 7 $aMotion pictures$xProduction and direction.$2fast$0(OCoLC)fst01027357
650 17 $aFilmkunst.$2gtt
650 17 $aFilmtechniek.$2gtt
650 17 $aFilmregie.$2gtt
650 7 $aRéalisateur de cinéma.$2rasuqam
650 7 $aCinéma.$2rasuqam
650 7 $aÉcriture de scénario.$2rasuqam
650 7 $aDirection artistique (Cinéma)$2rasuqam
650 7 $aRéalisation.$2rasuqam
600 17 $aMackendrick, Alexander.$2swd
650 07 $aFilmregie.$2swd
650 07 $aDrehbuch.$2swd
700 1 $aCronin, Paul.
919 4 $a31867007253821
990 $anobcz 05-17-2017
905 $unoble
901 $a3976274$b$c3976274$tbiblio$soclc
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