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Can a theatre class textbook be both inspirational and informative? Yes! This holistic book on directing and acting does it all. Students will keep it as a lifelong career reference on how to make things work. Written subjectively, it's based on nearly a half-century of teaching and directing. A theatre text that compels involvement in all layers of creating memorable theatre. Thirty-five chapters in seven sections with assignments and convenient section summaries make a complete semester course. This drama text is far more than "how-to"; it's a narrative about artistic discovery. Experientially it reveals how to jolt lagging imaginations into an ensemble of lively and involved performers. Adaptable for use by student directors and actors from secondary to graduate level. Recommended by leading theatre educators as the text they've been waiting for.
They’re often behind the scenes, letting their work take center stage. But now Nathan Williams, founder and creative director of Kinfolk magazine and author of The Kinfolk Table, The Kinfolk Home, and The Kinfolk Entrepreneur—with over 250,000 copies in print combined—brings more than 90 of the most iconic and influential creative directors into the spotlight. In The Eye, we meet fashion designers like Claire Waight Keller and Thom Browne. Editorial directors like Fabien Baron and Marie-Amélie Sauvé. Tastemakers like Grace Coddington and Linda Rodin. We learn about the books they read, the mentors who guided them, their individual techniques for achieving success. We learn how they developed their eye—and how they’ve used it to communicate visual ideas that have captured generations and will shape the future. As an entrepreneur whose own work is defined by its specific and instantly recognizable aesthetic, Nathan Williams has a unique vision of contemporary culture that will make this an invaluable book for art directors, designers, photographers, stylists, and any creative professionals seeking inspiration and advice.
A comprehensive text suitable for use at all levels of directing and acting courses.
How do we judge what is good in art? Or more to the controversial point, can we judge art? Acclaimed museum director Maxwell Anderson, newly named Eugene McDermott Director of the Dallas Museum of Art, enters the fray with The Quality Instinct. Part personal memoir, part thinking person's guide to the museum, The Quality Instinct is filled with wit and humor, anecdotes, and insights from the author's 30 years in the highly competitive, often contentious art world. Anderson takes us on a grand tour of ancient and contemporary art, sharing five simple metrics of quality that help us to increase our "visual literacy" as we learn to see, not simply look and judge.
A study of the art of directing and directing techniques. It addresses questions such as: how do you draw all the talented artists together to share a single vision?; how do you express the writer's intentions?; and how do you keep the actors' performances fresh?
An instant classic since its debut in 1991, Film Directing: Shot By Shot and its famous blue cover is one of the most well-known books on directing in the business, and is a favorite of professional directors as an on-set quick reference guide.
This is the only book that combines conceptual and practical instruction on creating polished and eloquent images for film and video with the technical know-how to achieve them. Loaded with hundreds of full-color examples, The Filmmaker's Eye is a focused, easy-to-reference guide that shows you how to become a strong visual storyteller through smart, effective choices for your shots. This book has struck a chord worldwide and is being translated into several languages After a short introduction to basic principles, a variety of shots are deconstructed in the following format: - Why It Works: an introduction to a particular type of shot - How It Works: callouts point out exactly how the shot works the way it does--the visual rules and technical aspects in action - Technical Considerations: the equipment and techniques needed to get the shot. - Breaking the Rules: examples where the "rules" are brilliant subverted
Packed with gems of wisdom from the current 'masters of light’, this collection of conversations with twenty leading contemporary cinematographers provides invaluable insight into the art and craft of cinematography. Jacqueline Frost’s interviews provide unprecedented insight into the role as cinematographers discuss selecting projects, the conceptual and creative thinking that goes into devising a visual strategy, working with the script, collaborating with leading directors such as Martin Scorcese, Spike Lee, and Ava DuVernay, the impact of changing technology, and offer advice for aspiring cinematographers. Interviews include Maryse Alberti, John Bailey, Robert Elswit, Kirsten Johnson, Kira Kelly, Ellen Kuras, Edward Lachman, Matthew Libatique, John Lindley, Seamus McGarvey, Reed Morano, Polly Morgan, Rachel Morrison, Rodrigo Prieto, Cynthia Pusheck, Harris Savides, Nancy Schrieber, John Seale, Sandi Sissel, Dante Spinotti, Salvatore Totino, Amy Vincent and Mandy Walker. Filled with valuable information and advice for aspiring cinematographers, directors, and filmmakers, this is essential reading for anyone interested in the art and craft of cinematography.
“A must have for any film nut.”—Details Peter Bogdanovich, award-winning director, screenwriter, actor and critic, interviews 16 legendary directors over a 15-year period. Their richly illuminating conversations combine to make this a riveting chronicle of Hollywood and picture making. Join him in conversations with: Robert Aldrich • George Cukor • Allan Dwan • Howard Hanks • Alfred Hitchcock • Chuck Jones • Fritz Lang • Joseph H. Lewis • Sidney Lumet • Leo McCarey • Otto Preminger • Don Siegel • Josef von Sternberg • Frank Tashlin • Edgar G. Ulmer • Raoul Walsh NOTE: This edition does not include photographs. Praise for Who the Devil Made It “Illuminating . . . These were (and sometimes are: a few yet breathe) men rooted in history as much as in Hollywood. Their collected memories make the past look fearfully rich beside a present that is poverty-stricken in everything except money.”—The New Yorker “Bogdanovich is one of America’s finest writers on the cinema. . . . Thank goodness [his] Who the Devil Made It has come along to remind us that films and writing about film were, at one time, focused on the work and not strictly on the bottom line.”—The Boston Globe “A treasure trove on the craft of directing.”—Newsday “Monumental . . . The directors’ reminiscences about technique, working methods, sources of ideas, and relationships with actors and studios are thoroughly entertaining.”—Publishers Weekly “A fine achievement that helps illuminate the art and craft of some remarkable directors . . . There are plenty of revealing anecdotes.”—Kirkus Reviews