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Must Reads Complete List

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Must Reads Complete List Online.

Arnheim, Rudolph. Art and Visual Perception
Bergson, Henri. Matter And Memory
Bergson, Henri. Creative Evolution
Blanchot, Maurice. The Space of Literature.

Blandine, Joret. Studying Film with André Bazin
Bordwell, David. Cognition and Comprehension Viewing and Forgetting in Mildred Pierce

Cassetti, Francesco. The relocation of cinema

Chion, Michel. The Voice in Cinema.
Chion, Michel. Audio-Vision

Chion, Michel. Film A Sound Art
Deleuze, Gilles. Cinema 1. The Movement Image.
Deleuze Gilles. Cinema 2. The Time Image.

Deleuze Gilles and Felix Guattari. Anti-Oedipus. Capitalism and Schizophrenia
Eisenstein, Sergei. The Cinematographic Principle and The Ideogram. (From Film Form)

Elsaesser, Thomas. European Cinema. Face to Face with Hollywood
Epson, William. Seven Types of Ambiguity
Hiller, Jean. Deleuze and Guattari. Jean Hiller in Conversation with Gareth Abrahams.
Hutcheon, Linda. A Theory of Adaptation.

Metz, Christian. The Imaginary Signifier.
Metz, Christian. Aural Objects
Perez, Gilberto. Imperfection
Perez, Gilberto. Toward a Rhetoric of Film: Identification and the Spectator
Turquety, Benoît. Inventing Cinema. Machines, Gestures and Media History

Recommended Film Studies Reading List

King's College London: Recommended Reading & Films
NYU Department of Cinema Studies. Theory of Image and Sound (updated 2/14/2013)
Yale University. Film And Media Studies Program

Open Access E-Books

Film Studies for free. Film Studies for Free

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And Sound or Rather Music in Film

Part 1 An argument for the need to know your music as a film director. The Theory behind Film Music Music in Film Studies Aaron Copeland Five Ways in Which Music Serves the Screen. Michel Chion and Audio-Vision. An Introduction to Ear-Vision Main Take-aways Part 2 Creating an Atmosphere Part 3 Aaron Copeland's 5 Ways Continued Film is a medium of communication and artistic value and every artist chooses a medium to confront his audience. It obviously follows that an artist must be sensitive and knowledgeable about other art forms, especially if one wants to incorporate these into one's medium of choice. This implies that no film director will be successful if one is not sensitive and knowledgeable about the other artistic forms one incorporates. A good director must therefore be artistic in nature, knowledgeable, sensitive and intuitive to acting, literature, art and music together with the mechanics of film making, like editing, montage, lighting and effects. Indeed, anyone ...

Anempathetic and Empathetic Sound

The terms I'm here to talk about are anempathetic and empathetic sound and music and film. Chion introduced these terms not simply about music and the relationship that music has in film with the image, but sound in general, and as the terms suggest, empathetic sound. It's an emotional term, so that the sounds that we hear are emotionally resonant to the images that we see. Anempathetic I find a lot more interesting because there's-the examples that you find of it are a little rarer and tend to have a lot of punch. One of the reasons I think that anempathetic sound has so much force is because it creates a tension that's almost imperceptible between what you're taking in visually or in other aspects of the soundtrack. And this sound is just there to almost diminish what's happening. The classic example that Chion uses and other people have used is at the end of the shower scene in "Psycho" after Marion Crane's ...

Short Films

What makes a Short Film different from a Feature Film? Functionally, a short film screenplay looks identical to a feature screenplay, using the same formatting styles as a feature film but simply shortened. A short film's length is the most significant difference between the two. As its name might suggest, a short film screenplay is a lot briefer than a feature screenplay, usually clocking in anywhere between 1 and 30 pages. Again, these are rough estimates, but going beyond 30 pages means venturing into the realm of a TV movie or a short feature film. A short film screenplay has a lot less time to tell its story, so every single moment needs to be essential. Unfortunately, there's rarely time for a deep and complex character arc between an ensemble cast. Instead, a short film usually fixes a single idea and dedicates all its time to it. So, for example, where a feature screenplay could feasibly depict an entire war, a short film screenplay could probably only depict a single ...

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