| Record ID | marc_nuls/NULS_PHC_180925.mrc:154584753:1592 |
| Source | marc_nuls |
| Download Link | /show-records/marc_nuls/NULS_PHC_180925.mrc:154584753:1592?format=raw |
LEADER: 01592pam 2200277 a 4500
001 9921005600001661
005 20150423132711.0
008 040405s2004 nyua b 001 0 eng
010 $a 2004007969
020 $a0826415687 (pbk. : alk. paper)
035 $a(CSdNU)u204624-01national_inst
035 $a(OCoLC)54959944
040 $aDLC$cDLC$dYDX
049 $aCNUM
050 00 $aPN1996$b.G84 2004
082 00 $a808.2/3$222
100 1 $aGulino, Paul Joseph.
245 10 $aScreenwriting :$bthe sequence approach /$cPaul Joseph Gulino.
260 $aNew York :$bContinuum,$cc2004.
300 $axiv, 230 p. :$bill. ;$c21 cm.
504 $aIncludes bibliographical references (p. 225) and index.
505 0 $aWhy sequences? -- The origin of sequences -- How a screenplay works -- How sequences work -- Toy story: firing on all eight -- The shop around the corner: fractured symmetry -- Double indemnity: flashback to the future -- Fellini's nights of Cabiria: nocturnal episodes -- North by northwest: 1,700 miles in nine sequences -- Lawrence of Arabia: sixteen sequences and an intermission -- The graduate: passive main character -- One flew over the cuckoo's nest: midpoint reversal -- Air Force One: eight sequences eight miles up -- Being John Malkovich: the disappearing lead actor -- The fellowship of the ring: the shotgun approach.
650 0 $aMotion picture authorship.
949 $aPN 1996 .G84 2004$i31786101817317
994 $a92$bCNU
999 $aPN 1996 .G84 2004$wLC$c1$i31786101817317$d10/1/2008$e5/28/2005 $f7/15/2004$g2$lCIRCSTACKS$mNULS$n1$q1$rY$sY$tBOOK$u6/14/2004