5 comments about Art Of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives.

1. Got book for Stepson, he hasn't complained about it, so I guess it was good.



2. This novel is the perfect place to start for beginners. Although it references mostly plays and screenwriting, the guidelines set forth by Egri can be applied to any type of writing. Be sure to take plenty of notes!



3. This book is a classic.
   
   One of the things that makes this book a classic is its simplicity. The book start exploring how you as a dramatic writer can use Premise as the guiding sign through out the whole process of writing a story.
   
   Once you have a premise you can work on creating your characters (using the premise to do that). To do this you'll have to know your character's physiology, sociology, pshychology, etc.
   
   Once you have your characters you can work on creating the story using the principle of contradiction, thesis, antithesis and synthesis. You'll have to use clashing forces... (again, you use the premise as explained at the beginning of the book).
   
   Then the author covers some of the most important elements in writing dramatic material of quality.
   
   In my case I found the chapter of "Jumping" quite enlightening. Once you read this chapter you'll understand why many, many stories just don't work. The characters jump and then... they fall to their death... and to the apaty of the audience.
   
   What is it that I like about this book? Well, I read it... time passes... come back to it again... time passes... and I come back again to read it!
   
   Where as most books make you feel like writing is extremely difficult, this one always makes me feel like I'm in command and that great story telling is within my grasp.



4. I've read several books about screenwriting to aid me in my capacity as a story consultant, and this book far surpasses them all. You'll hear the age-old question of what's more important to story: action or character? What I got from this book is that the question is - in the end - moot. You need both - well drawn characters to the sell the action, and compelling action to reveal character. The process is tricky, but Egri lays it out with such precision and wit, you'll wonder how you ever got along without his insights. Even though this book was written over half a century ago, it applies now more than ever - especially for the cinema where writers are increasingly relying more on formula and less on the construction of truly memorable, believable characters. Originality must begin with a thorough understanding of who your characters are, how and why they come together, and what ultimate premise their interactions serve to reveal. Egri explains this process with depth and panache. If you want to improve your narrative and give the world fresh new characters that tell "your story" this is THE place to start!



5. I've easily read more than 100 books on creating fiction (my focus is primarily short stories and novels), and I've done so because I'm always interested in learning what others have to say about the craft that I might find ways to improve my own.
   
   I disagree with the reviewer who pishaws Egri's recommendation to create character biographies, saying that the "audience will never see them". The fact is, every short story, novel, play, movie is like an iceberg: what the audience reads/sees is only 10% of the whole. The rest is hidden. If a writer hasn't done her homework on a story's setting, background or, more importantly, on her characters' backgrounds, it will show, and in the worst way possible. Even if a writer is of the sort who develops her characters as she creates the story, there is still much about those characters which doesn't make it into the tale. It's rather like when you tell a cousin about a friend of yours. You don't give your cousin all the details, only those details which are relevant to giving your cousin an accurate, yet true, representation of your friend, but you can only accomplish this if you know your friend very well. The same is -- HAS TO BE! -- true of your story characters: you MUST know them very well (more than what you reveal) if you are to represent them to your audience accurately and truthfully (but not exhaustively), and that's precisely Egri's point.
   
   Regarding Egri and his agreements/disagreements with Aristotle, his disagreement with regard to a story's beginning has more to do with modern readers' interpretations of what constitutes a beginning. Every story must have a beginning, even if it doesn't appear on the page, on the screen, or on the stage. All the consituent parts of a story, even if they aren't put plainly before the audience, must be implied in what is. (Algis Budrys' WRITING TO THE POINT demonstrates this quite well.) Egri's disagreement with regard to Aristotle's views on plot/character, however, are, I believe, on the mark. In this case, however, the disagreement has more to do with historical/cultural/religious context. Aristotle's putting plot primary is due largely to the prevalent beliefs of his time, just as our putting character primary is due to the prevalent beliefs of ours. This, too, is a point which Egri recognizes.
   
   After reading Egri's book, my writing will never be the same again, I'll never read another novel or short story the same way again, and I'll never see a movie or play in the same way again, either. I dare say that I'll appreciate a good novel/short story/movie/play even more with the tools that Egri provides in this book, and will now be able to elucidate far more clearly than before why I didn't like a particular novel/short story/movie/play. In like manner, I now believe that I'm better equipped, after reading Egri's book, to recognize what is wrong with any story that I've written and will, therefore, be better able to fix the problem.
   
   After reading all the books I've read on story/character creation, I'd have to say that Egri's book is easily the best book I've ever read on the subject. While other authors of such books may have said much the same thing, Egri presents the same material in a way that makes it eminently clear and immediately memorable.
   
   POSTSCRIPT: In defense of novels (since that is my preferred medium), unlike what was stated in one review on Egri's book, pacing is just as important in a novel as it is in a stage play. If you have one high-paced scene after another in a novel, your reader will be breathless before she's half-done with the book. Conversely, if your pacing is constantly slow, you're very likely to lose reader interest. There are all sorts of tricks to controlling pacing in a novel, from word, sentence, and paragraph length, and even down to specific word choice. There are other ways to control pacing, as well, but I shan't get into that here. It's a shame that very few books have covered this aspect of novel creation.

5 comments about Self-Working Table Magic: 97 Foolproof Tricks with Everyday Objects.

1. This book is amusing but not spectacular, I would go for the street magic, Mindfreak and blaine books for something more espectacular. Decent for beginers.



2. I purchased this book thinking that it would be a good beginning magic book for a group of middle schoolers interested in learning magic tricks. It seems that even though the objects are everyday, the tricks are not. This is a great book if you are willing to do the practice to master the tricks, but if you are looking for a quick trick, then keep looking.



3. Karl Fulves has been putting out these kinds of books for what seems like an eternity. They are good books for kids and even a skilled performer can pull some good material from these books.
   [...]



4. i think that this is a great book and it rocks my socks



5. Many beginners to magic (and others who should know better) are of the opinion that a magic effect has to be difficult in order to be worthwhile. While there are many killer effects that take months or years of practice, there are equally wonderful tricks that rely on psychology, subtlety, and/or advance preparation. The Self Working series of books are a treasure trove of great magic. This book is no exception. Many of the included tricks are used by successful professional magicians. Admittedly, these are best used in a program with other, more elaborate tricks, but for those moments in your act where you need a short, sweet effect, something in this book might just fill the bill. And as you get more proficient in magic you will find ways to further embellish these tricks and make them your own private miracles.

5 comments about Dressed: A Century of Hollywood Costume Design.

1. Do whatever you have to do to get your hands on a copy of DRESSED. It's a visually stunning, erudite and jaw-dropping look at the best costumes and costume designs since movies began. Deborah Landis curated and wrote this hefty collection, and it is her expertise that puts the costumes in context. A beautiful book to treasure and browse.



2. This turned out to be a great gift for a friend who is really into design and is a big fan of old movies. I would have liked to have seen a few pages of the book before buying, so I could get a sense of what to really expect. I would definitely think about purchasing it again--it makes a great coffee-table conversation piece!



3. This book should contain pictures of things worn in the movies, and it does. I wanted more information at times, and the book made me greedy for even more images, but disappointment in this book would most likely be the result of an aficionado's personal quirks and expectations of books of this sort. This book contains Incredible Pictures of costumes, articles of clothing that leave you awestruck by the minds that conceived of them. Pictures of a lot of folks who have passed on, shown wearing things made just for them, I think often just coincidentally in the context of a character - some so enhancing, so perfect, so flattering that all you can do is shake your head and do your best not to wallow in the comforting haze of nostalgia. A book about fashion, costume, and Hollywood. Lots of fun and illuminating facts about the people who paid for, created, made, and wore the stuff. While needing no handicap, when considering the times, the technology, the state of historical research - the realization of some of the older pieces shown in the book is staggering; achievements which broadcast themselves from page after page, from black & white stills, from the beginning of movie making [to the present by the way, which I am personally not as excited by - an inexcusable bias]. A terrific book.



4. This book was certainly well thought and presented. So nice to see the glamour girls of past decades.



5. The glamour of the book strikes any reader immediately. Particularly special is the text connecting the photographs and the costume sketches (so rarely seen!). One cannot come away from this book without a newfound wealth of knowledge of their favorite films and an appreciation for costume designers' thoughtful and purpose-laden participation in creating cinematic magic.
   No picture in this book is boring. I think the one of the most intriguing aspects is the choice of male costumes presented. I, for one, am definitely guilty of overlooking actors' seemingly plain suits for actresses' ball gowns in movies. I quickly learned and indulged in the equally important glamour (or lack there of) of male costumes. I now understand the fine tailoring in Chinatown and I now can smell Borat's grey suit (gross! can you imagine?).

3 comments about Twelfth Night (Folger Shakespeare Library).

1. Twelfth Night is a very amazing book full of true love, confusion, and adventure. It starts out with a shipwreck on a fictious island of Illyria where Viola and her twin brother Sebastian are staying and neither of them thinks the other is alive. So therefore, they both go into Illyira and Viola posing as a man who is a messenger for Duke Orisno. Results in big trouble for all of them in Illyria. This is only some events that happen in the book. Other things are Duke Orsino is madly in love with Olivia who does not love him. Malvolio thinking Olivia loves him when she doesn't. Things just aren't going so well in Illyria for all the characters. But overall this is an excellent book and I truly enjoyed reading it.



2. I saw she's the man in theaters, then I went on the internet and read about it. Then I found out it is based on twelfth night. So I read the play and I like it. I've also read A midsummer night's dream. I like twelfth night more. It's a great play.



3. This play is about a girl who goes under cover as a man to try to find her twin brother who was lost in a shipwreck. she goes to work for the self indulgent Duke Orsino. the play is filled with comedic events such as the Duchess Olivia falls love with the main character, Viola, because Olivia thinks Viola is a man, as well as the drunken antics of Sir Toby and Sir Andrew. overall it was a very funny play and I enjoyed reading it and I would reccoment it to anyone who likes Shakespeare.
   
   The wording, the same as with any shakespeare play, was a little hard to get used to. When reading it I would get a vague understanding what the character was saying but then I would chekc the definition of specific words that are on the the opposite page. It would then become clear to me what was happening in the play. I enjoyed the comedic flow of the story. the series of different converging plots made for a little difficult comprehension but it all came together at the end of the play. This was definitely a funny play, and it was even better when I saw it on stage. There seems to be so much one misses when just reading a play, but when one sees it on stage the overall understanding of what is happening and why is greater. I thouroughly enjoyed reading the play as well as seeing it on stage and it was overall a solid comedy by William Shakespeare.

5 comments about Opera 101: A Complete Guide to Learning and Loving Opera.

1. A great overview of over 100 operas - the plot, composers, artists, background news and gossip in a vey interesting and sometimes humorous style. It's fun to read and be informed at the same time.



2. "Opera 101" is well written, easy to understand, and very informative. I wish every subject had a reference book so excellent.
   
   That said, there is one problem with the book. The included discussion of eleven key operas is most beneficial if the reader can get ahold of certain recommended recordings. To purchase those recordings is extremely expensive. I bought "Opera 101" because I didn't know anything about opera, and one of the first things I learned as result of buying this book is that a single opera recording can cost more than $50. Unless you have a well stocked public library, a friend with an extensive opera collection, or money to burn, you will not get the most out of "Opera 101".



3. It is most heartening to see that opera lovers and novices almost universally agree that this book is excellent, informative, and illuminating. I was maybe 14 when I asked a salesperson in a bookstore "do you have a book that will teach me about opera?" Without hesitation, I was directed to "Opera 101".
   
   I was skeptical. However, I am no longer!
   
   Mr. Plotkin is experienced, informed, and well-read. So as not to belabour the structure of the book (since there are many descriptions of it) I'll say that the idea of walking someone through 11 operas is excellent. That Mr. Plotkin picks a particular recording (with commentary per track) is an indespensible fusion with the book.
   
   That is to say Mr. Plotkin has carefully chosen themes, operas, and what he believes to be superior recordings of the above mentioned as illustrations of what opera can be to the average listener. His decisions on recordings are in no way arbitrary, and he takes special care to choose recordings more easily found than those that might be "better" but are less easily found outside of major metropolitan areas.
   
   Let's remember, the original version of this book was written before the internet made just about any recording available in any area. He admits that sometimes he's arbitrary (especially with his recommendation for Il Barbiere di Siviglia...YUCK) but he always explains his good reasons for choosing inferior performances on disc. His are not "Gospel" recommendations, but those he thinks best illustrate the power of opera in recorded form, customs, and the sheer beauty of the human voice.
   
   Beyond that, Mr. Plotkin performs a yeoman's task of qualifying the different kinds of voices in opera, provides an 90+ page history of opera, and gives the average American a primer in the esoteric "etiquette" of attending an opera performance.
   
   Invaluable for its tutorial format, universal as a detailed introduction; "Opera 101" is a MUST for an opera lover's collection.



4. If you are on the fence and want to dive into opera, but feel intimidated or confused by it, this book is essential. Mr. Plotkin writes in an engaging style that is neither preachy nor simple. While he certainly has his opinions, he tempers them by offering arguments in favor of other interpretations and other recordings. Before reading his book, opera to me was inpenetrable and perhaps something to be tackled years from now when time would be more available. Yet, because he did such an effective job in his book of introducing and explaining opera, i am now an ardent fan and one who makes the time to listen to and see operas. Bravo Mr. Plotkin!! Encore!



5. Having read about a dozen books that tout themselves as introductions to opera, I found "Opera 101" to be perhaps the most intriguing of the bunch. In an ever-so-slight way, it is at times a bit preachy and a bit overobvious. You will feel occasionally like you are in a high-school music appreciation class, or reading an operating manual. On the other hand, Plotkin leaves absolutely nothing out, and no stone unturned, and for that he is to be commended. Every possible question is answered, and answered thoroughly. In addition, the appendices are chock full o' valuable information (a list of all the major and mid-major opera houses all over the world; books for further reading; recommended CD recordings and DVD filmings; etc.). And you have the feeling at all times that Ploktin knows what he's talking about.

   This is the PERFECT book for any adult who knows absolutely zilch about opera but who wants to learn it all, and learn it all out of a single source.

5 comments about The Tempest (Folger Shakespeare Library).

1. I like Shakespeare, but the Bard was having an off day with this one.
   
   It rambled, it didn't have the down-to-earth feel of his better stuff, it had the passion of a comedy and the humor of a romance; it was tepid. It felt contrived thoughout. It would probably be a splendid opera, with the potential for great costumes, set, and songs, while noone minds the limp plot and saccharine ending.
   
   The thing I missed most was the stark exposure of human nature of his other works, the unadorned truth that shows up for better or worse. "The Tempest" showed a cranky old man miraculously transform into the joyful father of the bride despite the decades of solitude and grudge-bearing. I'm not following this, as mentioned it sounds operatic, not dramatic.
   
   E.M. Van Court



2. One of Shakespeare's most beloved works, The Tempest is a classic tale of adventure that combines revenge drama, romance, and comedy, all of it driven by magic and the supernatural. The play also uses manifold references to ancient myth to develop its sense of seabound peril, while drawing brilliant parallels to the colonial impulse that was then rapidly on the rise in Europe. Indeed, one of The Tempest's most singular triumphs is how it metaphorically addresses the complexities of colonialism in ways that somehow manage to speak to 20th and 21st century concerns. Of course, Shakespeare being the genius that he is, there's more to it than that- this is also a story of love, revenge, redemption, and political intrigue, full of well-drawn characters and unexpected plot turns. It doesn't rank with Shakespeare's best (in my opinion, anyway)- it doesn't have the stunning emotional impact of Hamlet or the labyrinthine psychological exploration of Macbeth. It's a gem, but a slightly minor one compared to his greatest masterpieces. But then again, what isn't?



3. This play is a fantasy and romance. The story is of a wise old magician and his unworldly daughter. There is a gallant young prince and a cruel, scheming brother. It is very much like a fairy tale written in Shakespeare's wonderful prose. In it ancient wrongs are righted and true lovers live happily ever after. The play is also an allegory, and it holds so much of Shakespeare's mature reflections on life. It is enjoyable.



4. The book was recieved in good shape and very fast. We ordered several bookes from different places and this was the first one we recieved.



5. I bought this for one of my classes, and I like this as a text because of the notes are way down in the footnotes, but on the opposite page,

1 comments about I Thought We Were Making Movies, Not History (Wisconsin Film Studies).

1. Walter Mirisch may not be a household name to most of you, but it should be if you love movies like THE MAGNIFICENT SEVEN, WEST SIDE STORY, THE GREAT ESCAPE, IN THE HEAT OF THE NIGHT, THE THOMAS CROWN AFFAIR, MIDWAY and numerous other classics of 1960's & 70's cinema. Along with his brothers Harold and Marvin, the Mirisch Company was the most prolific producer of hit iconic movies in Hollywood history. Over 100 films, 67 of which were for United Artists alone. They were the definitive independent production company and Walter Mirisch was the definitive independent Hollywood producer.
   
   For anyone vaguely interested in Hollywood history, this is a must-read. From "behind-the-scenes" trivia to the everyday struggles of getting so many great pictures to the screen, Walter gives us a rare and honest insight into working with such iconic talents as Billy Wilder, John Sturges, Norman Jewison, Steve McQueen, Sidney Poitier and so many others. The Mirisch Company thrived in the vacuum left by the declining Hollywood studio system. They were a streamlined, highly efficent, low overhead operation that attracted the biggest directors and stars. From humble poverty-row beginnings at Monogram with "Bomba The Jungle Boy", Walter Mirisch like his brothers learned everything there was to know about the movie business. Unlike today's Hollywood, where it's all about the deal and the bottom line. The Mirisch brothers were the very model of dignity and style. They cared about the quality and it earned them three oscars for best pictures alone. Walter won two honorary Academy Awards, he was a distinguished head of the Academy as well. Always the Hollywood statesman and champion, he has well earned the respect of the industry he has served so well. The next time whether on TV or DVD, you see the Mirisch name during the opening credits of any of his great movies. This book will be like having the man himself sitting right there beside you, answering all those questions as only he can!
   
   As a historian, I wish this book was the first of many from a man I very much admire. But at 87, Walter Mirisch can be forgiven for not having to write a full volume set. What he does write is precious though and sadly to borrow an old Hollywood cliche line -"we shall not see his like again".

5 comments about The Twilight Zone Companion.

1. What a great surprise! TV series companion books are a mixed bag and most are disappointing. This one, however, is worthy to bear the name of the wonderful classic series it chronicles . . . The Twilight Zone.
   
   The book opens with a biography of Rod Serling, followed by an equally engaging chapter on the conception, creation and birth of the series. Much background information and insights. Very, very well researched and written. Extremely interesting.
   
   Each of the show's five seasons is grouped, and a chapter devoted to each episode - documenting the date, writer, producer, directors, music, and cast. Serling's opening comments for the respective episode are reproduced and then a synopsis with EXTREMELY interesting behind the scenes information. Some of the more famous episodes ("The Invaders" with Ages Moorhead) are given more space and detail.
   
   What makes this companion book so special, I think, is that due to our familiarity with the Twilight Zone, and having re-watched the various episodes multiple times - the average baby boomer can just about open this book at random and within a few sentences is recalling the episode and the details being discussed.
   
   The book closes with an After the Twilght Zone chapter, and then an epilogue. I cannot iterate enough, how well written this book is. Some books of this nature are clinical and boring, others gush with praise but offer no real depth of information. Marc Scott Zicree hit the mark perfectly with this piece of work. Fascinating information that WE are interested in, well written in a conversational matter, well organized. Hundreds of great nostalgic still photos are a bonus.
   
   Highly recommended for even a casual Twilight Zone fan. I bet you won't be able to stay out of it.



2. about the Twilight Zone episodes. Man this book is great. As well as providing great information on the episodes themselves, the book goes deeper as it goes into detail of its conception, life and death of what some may claim to be the best TV series ever. Every TZ fan should have this book already.



3. A real gem for any Twilight Zone Buff! Lists all the actors as well as story line for each episode. If you see this out of print book better grab it! Hopefully now that there is a new DVD compilation out this book will be republished.



4. I love this book!!! It has everything for a twilight zone fan. It first has an introduction to Rod Serling Then goes on to tell about the show. Then it explains about each season and has every episode in order by air date. Every episode has a picture information about the episode including Rods introduction and outro,Who it was written by, the producer, Director and a few other things plus the sum of the episode then goes into a sort of interveiw with special people behind the twilight zone. so basically your learnign something special about every episode. It has all the information you would need about the twilight zone. It was a spectacular book. I suggest it as a BUY!!!



5. Zicree's Twilight Zone Companion is alright as a reference guide for information on original airing dates, credits, and backstage tidbits. The organization of the book could have been more user-friendly but nothing to quibble about. Interviews with those associated with the program were also interesting and worth the price of admission.
   
   Zicree is docked two stars for presenting his critiques as anything other than completely subjective. He is welcome to his opinions as we all have favorite episodes and ones that we find less enjoyable. That's the nature of art in any form. For me, the problem is with the fact that Zicree doesn't at least admit up front that his opinions have less to do with the quality of a given story and more to do with a leftist world view. His apologetics for all things Socialist (see his comments on Khruschev and Castro) coupled with a hatred for traditional American culture (see his comments about an episode concerning Custer, for example) are grating to say the least. While one may argue these geopolitical points in a different setting, a guide to a TV series, in my opinion, appears to be an ill chosen forum.
   
   Just a closing comment here: Zicree could not bring himself to find any good thing to say about contributer Earl Hamner's episodes. It seems to me that it may have more to do with Hamner's later work in the Walton's, a series with a very traditional viewpoint that is the antithesis of Zicree's left-wing dogma, than with the quality of Hamner's TZ scripts.

5 comments about The History Boys: A Play.

1. This is a great story to read for anyone who had teachers that challenged them to think differently. It makes the reader think about the role education should play.



2. The award-winning play by Alan Bennett is a great read. More devoted to the influence of words (the "dictionary" boy role of Posner) and music than the later screenplay, the play emphasizes the differing perspectives on education of the two lead teachers (Hector and Irwin). Without the need to "open up" demanded by film Bennett focuses on the schoolroom and uses subtle effects to effect his dramatic purpose. In doing so he is successful in creating a delightful dramatic and comedic portrayal of ideas, all while evoking the spirit of bright young scholars at a key turning point in their lives.



3. A very entertaining play, with solid characters & plenty of humor. Read it, you'll like it!



4. Has more than a passing ressemblance to Michael Campbell's Lord Dismiss Us (Chigago University Press 1967). It is equally as funny. For once, the play and DVD does not ignore what is in fact every schoolboy's favourite pastime.



5. Disclaimer: I am reviewing the original script and have never seen the play. I would LOVE to see the play, because at times the script was confusing. For instance, characters who are not in the scene suddenly have lines. And then, just when you think they've entered stage left, you see that they're not there after all, and therefore must have lines upstage left so the audience can hear their thoughts. You can't be sure, however, as Bennett is chary about his stage directions.
   
   Despite all that, the play was fun to read if only for its rich use of literary allusions. It is burgeoning with quotes from A.E. Housman, Thomas Hardy, Philip Larkin, Walt Whitman, and other poets flung far and wide. The literary banter comes chiefly in the presence of the English professor called Hector. Then, so as not to disappoint those attracted by the title, there are numerous scholarly discussions about history (chiefly WWI and WWII). Professor Irwin is the vehicle for much of THIS discussion, and his unique take on how we should view the past is part of what makes this play admirable. So, if you are (or were) the type who loves (or loved) all those late-night intellectual discussions in the college dormitory, you might find wheat among the chaff of this play.
   
   Speaking of, what worked less than the sterling intellectual wordplay (and idea play, if you will) was the soap opera aspect. Hector, for instance, has a penchant for more than just educating boys and he comes off as more pitiable than pitiful. Irwin, too, though much more respectable, gets sucked in to the melodrama by, of all characters, the most handsome blade among the boys (Dakin, who was last seen seducing the headmaster's secretary before he decided to proposition his professor). It all pushes the envelope and gets a bit unbelievable, at least in written form, as the characters act and speak in ways that do not follow character OR seem to change without sufficient time elapsed to make the behavior reasonable. The beneficiary of all this is the female professor, Mrs. Lintott, who alone comes off as intelligent, reasonable, and clear-thinkingly free of that pesky testosterone. Bottom line: I liked the play but had trouble suspending my disbelief to accommodate all of the sexual intrigue.

5 comments about Understanding Movies, 11th Edition.

1. What I like about this book is the way it's laid out for easy reading. The pictures are great memory refreshers of movies one may have seen and did not fully understand their rational and purpose. As a poet, I like the way it's linked with poetry and creative writing in many ways. One may also find several references to poetic style filtered through the book. The reading goes into details regarding the classification and various styles of films in the areas of realism, classicism and formalism. The principle regarding Mise en Scene was very interesting, especially the movies. The editing of shots from different angles make it clear as to why some films are disjointed and do not flow smoothly. Understanding how sound effects really bring movies to life over stage plays is an interesting process. The various styles of writing, storylines, ideology and drama are really strong areas in the text. This is an excellent book regarding the understanding of movies and their existing relationships to stage plays, musicals, and poetry. Other interesting books to read are: "Trilogy Moments for the Mind, Body and Soul" with the new Epulaeryu poetic form; "Everyday Miracles" by Margaret Okudo; "The Language of Poetry Forms" by Tree Good; and, "My Walk with Jesus" by Christina Jussaume.



2. Gianetti's classic textbook has been around for a long time, and gone through several printings and new editions. There's a reason for that: it is one of the best introductions to the analysis and appreciation of film that is around. This is the book I was assigned when I took my first film class ("Film as Humanities") in college, and it opened up my eyes to a whole range of elements that contribute to the making of film meaning. Now, a few editions later, I am still assigning the book for my introduction to film studies classes.
   
   What makes it so useful is that Gianetti focuses a chapter each on all of the different components that contribute to the significance of the final film product. He has a chapter on photography -- that introduces vocabulary for describing the images of film, the lighting, the framing, and the way in which the arrangement of elements on screen can direct the eye of the viewer. He has other chapters on movement, composition, editing, acting, story, drama, sound, and ideology, among others.
   
   A refreshing feature of the book, especially for an introductory level text, is that it does not make a sharp distinction between "art" films and "entertainment" flicks -- all of the elements he discusses apply to any films, and he illustrates them with copious examples from both the history of cinema and also from popular and accessible films of the last decade and even last year. At the same time, he is not timid about making judgments about films -- and giving his readers several tools for making critical judgments about what makes some films better than others.
   
   A guiding theme of the book, that lends continuity to each of the chapters and to the book as a whole, is Gianetti's emphasis on a distinction between the "realist" and the "classicist" and the "formalist" tendencies in film. In his chapter on story, among other helpful analyses of narrative styles and the formation and development of genres of film storytelling, he also explains what one would expect from a realist approach to storytelling versus a classicist (i.e. mainstream Hollywood) style versus a formalist approach. He similarly discusses realist and formalist approaches to editing and composition and acting and sound. This basic distinction turns out to be the key to understanding a wide range of differences between approaches to film.
   
   While he doesn't go into film theory directly, he points out where some of the critical ideas he raises have provoked controversy among film theorists, and he is able to capture clearly the key ideas that are debated by film theorists without in any way bogging the text down in jargon. He maintains througout an emphasis on what might be called first-level film analysis -- before we can apply theory to films, before we can reflect on the nature of film, or on the deeper meanings of films, we really do need to learn how to get clear about what is on the surface: what is happening on the screen and in the sound and in the story, and why. While there are other good introductory film books out there that focus on different aspects of film (like Bordwell's Film Art), I really can't imagine a better guide than Gianetti's to getting clear about what is there on the surface. Highly recommended for those interested in the nature of film.



3. This is an essential book for students of cinema. It does one thing and it does it quite well: it introduces you to the language of film analysis, the categories that critics use to analyze a film. It doesn't try to cover film technology or history.
   
   I totally agree with the other reviewer that the new editions are completely unnecessary, and serve only to destroy the market for used copies. Buy one of the older editions unless it's for a college class and you need the same edition as the class.



4. This is a great book although, amazon never delivered. I had ordered this book 2 weeks before school(along with 2 other books for school), it never came. Amazon said that i have an "undeliverable" address, but when i ordered it from ebay i got it in 3 dAys! Then i had to wait forever for a refund!



5. great seller and i would buy from this seller again. the book was new just like it stated.