Bücher Herunterladen On Directing Film, by David Mamet
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On Directing Film, by David Mamet
Bücher Herunterladen On Directing Film, by David Mamet
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Amazon.de
According to David Mamet, a film director must, above all things, think visually. Most of this instructive and funny book is written in dialogue form and based on film classes Mamet taught at Columbia University. He encourages his students to tell their stories not with words, but through the juxtaposition of uninflected images. The best films, Mamet argues, are composed of simple shots. The great filmmaker understands that the burden of cinematic storytelling lies less in the individual shot than in the collective meaning that shots convey when they are edited together. Mamet borrows many of his ideas about directing, writing, and acting from Russian masters such as Konstantin Stanislavsky, Sergei M. Eisenstein, and Vsevelod Pudovkin, but he presents his material in so delightful and lively a fashion that he revitalizes it for the contemporary reader.
Pressestimmen
"Passion, clarity, commitment, intelligence—just what one would expect from Mamet."—Sidney Lumet, Academy Award-nominated director of 12 Angry Men, Dog Day Afternoon, Network, and The Verdict
Alle Produktbeschreibungen
Produktinformation
Taschenbuch: 128 Seiten
Verlag: Penguin Books; Auflage: Reprint (1. Januar 1992)
Sprache: Englisch
ISBN-10: 0140127224
ISBN-13: 978-0140127225
Vom Hersteller empfohlenes Alter: Ab 18 Jahren
Größe und/oder Gewicht:
20,1 x 12,8 x 0,9 cm
Durchschnittliche Kundenbewertung:
4.2 von 5 Sternen
8 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 14.634 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Beim Lesen dieses kurzen Buches habe ich mehr über das Filmemachen gelernt als in zig Büchern davor. Hier hat es das erste Mal wirklich "Klick" gemacht und ich habe verstanden was "Visual Storytelling" wirklich ausmacht.In diesem Buch lernt man nichts über Kameraführung, Komposition oder ähnliches, sondern rein wie man eine Geschichte in Bildern erzählt. Das Ergebnis ist eine sehr nüchtern Erzählung, weshalb einige Rezensenten dem Autor vorwerfen, den künstlerischen Aspekt zu vernachlässigen. Damit haben sie Recht, das kommt dem Buch aber nur zu Gute, denn damit kann es sich auf das Kernthema konzentrieren. Für Bildkomposition oder Kameraführung muss man zu anderen Büchern greifen.
A great book about making films. It's all in there. Reading the book gives enough information for a beginner on how to set it up: from beat, to cut, to scene to film. On where to put the camera. On what good actors should do and how to recognize them. However, at times it appears as if the author is so upset about filmmaking in Hollywood that there might be deeper and more personal reasons for his harsh criticism. Either way, the book is a great introduction and enabled me to discuss a scene with a professional director almost on eye level.
David Mamet writing a book on how to direct film is like Vanilli setting himself up as a voice coach. The truth is that great filmmakers, like all great artists, operate purely on instinct, and would never let themselves be weighed down by the cockamamied theories Mamet so zealously espouses here. "On Directing Film" is not a bad book, exactly. It's just that Mamet has no business writing it. As a director, he is an abomination, egregiously over-disciplined and painfully self-conscious. As a writer, he is more in his element, although his plays are only tolerable when they are brought to the screen by better, looser, funkier directors ( such as James Foley, whose film version of Glengarry Glen Ross is definitive. ) Mamet's own film adaptation of Oleanna is so creaky, so wooden, you can actually hear the ellipses ( dot dot dot ) in the characters' speech. This book just proves that he's being held down by a faux-Eisensteinian system of his own devising. Unless you're Mamet himself, "On Directing Film" is useless. For those people with vicarious yearnings to sit in the director's seat, I recommend Sidney Lumet's Making Movies instead. Less pretentious, more illuminating.
After reading screenplay books for years -- the likes of Syd Field, McKee, Howard, Hunter, etc. -- Mamet is a refreshing change. I realized how the other books, for all intents and purposes, were analyses of scripts, avoiding or skirting the issues of method and process. In other words, it's not hard to look at a huge box office and critically-acclaimed hit (Chinatown being the consensus favorite) and explain what makes it so good. We all know it's good. We've seen the movie. We've read the script. We're all in awe. And we all know the elements. But the actual process of writing, of formulating a story visually, of actually creating instead of merely analyzing, seems to be an afterthough to these folks. I mean, in some way, you've got to ask yourself why these fellas -- McKee, Field, and others -- have never actually written a thing! Mamet espouses a simplicity to the process of storytelling in film, beat by beat. It's a bit repetitive and sterile, as is the man himself. I don't agree with him on everything, and neither will you. He contradicts himself all the time and seems to take delight in his own presence, but he is a great craftsman, and anyone looking to tell stories visually would be mistaken to think this book unimportant or trivial. A must read for aspiring filmmakers, especially those who write.
I have found this book to be of great use. I have highlighted much of the text and have been assimilating it since it came out in hardcover. Technology is evolving toward consumer movie making and this book can serve as a point of departure for anyone with a video camera and a desire to tell stories but no pressing desire to become a part of "the industry". His technique is admittedly rigid but is simple to understand. When one honestly and patiently applies the technique in order to conceive a story outline, the results--since the unconscious is employed instead of the ego--can be quite enchanting. This book aims toward a more poetic cinema. I highly recommend it.
The truth is that David Mamet directs film as no one else does. His book should not be compared with standard, film-school texts. He has a different approach, and one that I find to be more rudimentary than most. After reading, I felt that Mamet genuinely took me into the "basics" of filmmaking. He certainly marches to his own beat.
A summary of the russian filmakers beutiful theory of montage. It's low point is that he fails to contradict montage with other styles of cutting due to lack of experience as a director. He basically puts up a fight for the russians on how film should mainly be visual with an understood plot.
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