Adrian Robbe's Blog, page 2
August 31, 2016
The Artistic Element of Violence in the Cinema of Film Director Martin Scorsese
Film Director Martin Scorsese and his Use of the Artistic Element of Violence
For the purposes of my discussion on the artistic element of violence and how it is used by the well known Film Director Martin Scorsese, I will discuss his use of violence in the Movie Goodfellas. I will also give an example of how the filmmaking artistic element of violence can be integrated into the writing of a fiction novel. In doing so, I will provide an brief excerpt of a violent scene from my epic medieval fantasy fiction novel, "The Wolves of Trisidian."
The Artistic Element of Violence in Martin Scorsese's Motion Picture Goodfellas
Common to several of Martin Scorsese's films, the movie Goodfellas incorporates the artistic element of violence in a New York City setting. In this movie, Director Scorsese reveals the dark side of humanity through violence.
Goodfellas
Goodfellas was Martin Scorsese's attempt to depict the violent "reminiscences of a New York mobster who cooperated with federal law enforcement authorities" (Lewis 27). The film revolves around the lives of three key personalities in the 1960s to 1970s. Common to many of Martin Scorsese's films, Robert De Niro stars in the film as one of the city's leading mobsters. Ray Liotta plays the character Henry Hill, a young boy in New York who becomes a gangster like his friend, Tommy Devito (played by Joe Pesci). As part of his cinematic artistry in the film, Martin Scorsese uses the lead character (Jimmy Conway played by Robert De Niro) in a voice-over to give the audience insight about his background and way of life. This was an effective technique that Scorsese used to get the previewing audience immediately engaged in the storyline of the film.
Violence is an integral part of the movie. In his review of the film, Robert Rothenberg states, "There is nothing romanticized about organized crime here, the gangsters [are] universally vicious and despicable, especially Robert De Niro as Jimmy 'The Gent' Conway and the sadistic Joe Pesci" (Rothenberg 64). Commenting on the dark side of human nature of the gangsters depicted throughout Goodfellas, Martin Scorsese describes the "wise-guy [mobster] philosophy" (Corliss) as follows:
''Want... [and] Take... They are animals, and watching Goodfellas is like going to the Bronx Zoo. You stare at the beasts of prey and find a brute charisma in their demeanor. You wonder how you would act if you lived in their world, where aggression is rewarded and decency is crushed. Finally you walk away, tantalized by a view into the darkest part of yourself, glad that that part is still behind bars." (Corliss). The above video "Goodfellas -- Official Trailer [HD]" was uploaded by TrailersPlaygroundHD to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of Violence in Novel Writing -- An Example
I incorporated violent scene in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following excerpt from the book depicts a dramatic scene at the Battle of Granador between the invading Army of Trisidian and the defending Army of Jandor.
WARNING (SPOILERS) -- Please be advised that the following excerpt from The Wolves of Trisidian novel contains SPOILERS. It reveals elements from a climactic event in the story that threaten to give away important details of the plot and the dramatic turn of events contained in the book.
Violent Scene Excerpt from the Novel, The Wolves of Trisidian
Lord Randall’s Army of Black Wolves and Dark Riders continued in their rush to the entryway at the City of Granador. The Dark Riders were holding their swords high in the air with lust for blood in their vindictive eyes. They were prepared to viciously strike the heads and bodies of any man, woman, or child that stood in their pathway to establish Trisidian reign. Without notice, they came upon the sharp caltrops hidden in the tall grass of the plain. The leading wolves along with the principal stallions carrying their mounted Riders began toppling down onto the ground as the sharp spikes pierced the soft flesh of the animals’ feet. The oncoming wave of Dark Riders on their stallions and army of Black Wolves were crippled by the sharp caltrops. The bodies of unwary men, wolves, and horses began to fall one upon another as they came upon the deadly caltrops. Their mutilated bodies formed a curtain of death on the Grim Reaper’s bloodstained plain. The blood gushing from the bodies of crippled men and wolves cried out for revenge as their vital functions languished.
The wolves, stallions, and Dark Riders continued to fall helplessly down onto the sharp spikes one after another. Cries of pain rippled through the air as their bones snapped from the crushing blows resulting from their forceful impact upon the ground. It was a terrible scene to witness. It was a pinnacle of the horror of war. To see such a suffering, massive wall of human and animal flesh squirming on the ground after being cut to pieces by the sharp spikes of the caltrops was sickening. The ways of Trisidian lead to death.
Once the initial wave of Trisidian invaders came crashing down to the ground, a shower of longbow arrows began to rain like a storm from the archers of the soldiers of Granador. This was followed by arrows being launched from the soldiers of Stonehaven and Actalon on both flanks of the Trisidian Army. Like a cold wind, the sharp arrows pierced the flesh of the enemy. The Army of Trisidian was experiencing glacial, wrenching pain as the poisoned arrows stabbed their bodies. The Dark Riders and Black Wolves were uttering wild cries from their abysmal depths of despair.
REFERENCES
Lewis, Jon. ed. (1998). The New American Cinema. London: Duke University Press.
Corliss, Richard. (September 24, 1990). Cinema: Married to The Mob. Time, Inc. http://www.time.com/time/magazine/article/0,9171,971220-3,00.html
Rothenberg, Robert S. (March 2003). Building a DVD Library -- the Warner Way. USA Today, Volume 131, Issue 2694.
Note: For a more detailed discussion of the filmmaking and how it applies to a film director, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
For the purposes of my discussion on the artistic element of violence and how it is used by the well known Film Director Martin Scorsese, I will discuss his use of violence in the Movie Goodfellas. I will also give an example of how the filmmaking artistic element of violence can be integrated into the writing of a fiction novel. In doing so, I will provide an brief excerpt of a violent scene from my epic medieval fantasy fiction novel, "The Wolves of Trisidian."
The Artistic Element of Violence in Martin Scorsese's Motion Picture Goodfellas
Common to several of Martin Scorsese's films, the movie Goodfellas incorporates the artistic element of violence in a New York City setting. In this movie, Director Scorsese reveals the dark side of humanity through violence.
Goodfellas
Goodfellas was Martin Scorsese's attempt to depict the violent "reminiscences of a New York mobster who cooperated with federal law enforcement authorities" (Lewis 27). The film revolves around the lives of three key personalities in the 1960s to 1970s. Common to many of Martin Scorsese's films, Robert De Niro stars in the film as one of the city's leading mobsters. Ray Liotta plays the character Henry Hill, a young boy in New York who becomes a gangster like his friend, Tommy Devito (played by Joe Pesci). As part of his cinematic artistry in the film, Martin Scorsese uses the lead character (Jimmy Conway played by Robert De Niro) in a voice-over to give the audience insight about his background and way of life. This was an effective technique that Scorsese used to get the previewing audience immediately engaged in the storyline of the film.
Violence is an integral part of the movie. In his review of the film, Robert Rothenberg states, "There is nothing romanticized about organized crime here, the gangsters [are] universally vicious and despicable, especially Robert De Niro as Jimmy 'The Gent' Conway and the sadistic Joe Pesci" (Rothenberg 64). Commenting on the dark side of human nature of the gangsters depicted throughout Goodfellas, Martin Scorsese describes the "wise-guy [mobster] philosophy" (Corliss) as follows:
''Want... [and] Take... They are animals, and watching Goodfellas is like going to the Bronx Zoo. You stare at the beasts of prey and find a brute charisma in their demeanor. You wonder how you would act if you lived in their world, where aggression is rewarded and decency is crushed. Finally you walk away, tantalized by a view into the darkest part of yourself, glad that that part is still behind bars." (Corliss). The above video "Goodfellas -- Official Trailer [HD]" was uploaded by TrailersPlaygroundHD to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of Violence in Novel Writing -- An Example
I incorporated violent scene in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following excerpt from the book depicts a dramatic scene at the Battle of Granador between the invading Army of Trisidian and the defending Army of Jandor.
WARNING (SPOILERS) -- Please be advised that the following excerpt from The Wolves of Trisidian novel contains SPOILERS. It reveals elements from a climactic event in the story that threaten to give away important details of the plot and the dramatic turn of events contained in the book.
Violent Scene Excerpt from the Novel, The Wolves of Trisidian
Lord Randall’s Army of Black Wolves and Dark Riders continued in their rush to the entryway at the City of Granador. The Dark Riders were holding their swords high in the air with lust for blood in their vindictive eyes. They were prepared to viciously strike the heads and bodies of any man, woman, or child that stood in their pathway to establish Trisidian reign. Without notice, they came upon the sharp caltrops hidden in the tall grass of the plain. The leading wolves along with the principal stallions carrying their mounted Riders began toppling down onto the ground as the sharp spikes pierced the soft flesh of the animals’ feet. The oncoming wave of Dark Riders on their stallions and army of Black Wolves were crippled by the sharp caltrops. The bodies of unwary men, wolves, and horses began to fall one upon another as they came upon the deadly caltrops. Their mutilated bodies formed a curtain of death on the Grim Reaper’s bloodstained plain. The blood gushing from the bodies of crippled men and wolves cried out for revenge as their vital functions languished.
The wolves, stallions, and Dark Riders continued to fall helplessly down onto the sharp spikes one after another. Cries of pain rippled through the air as their bones snapped from the crushing blows resulting from their forceful impact upon the ground. It was a terrible scene to witness. It was a pinnacle of the horror of war. To see such a suffering, massive wall of human and animal flesh squirming on the ground after being cut to pieces by the sharp spikes of the caltrops was sickening. The ways of Trisidian lead to death.
Once the initial wave of Trisidian invaders came crashing down to the ground, a shower of longbow arrows began to rain like a storm from the archers of the soldiers of Granador. This was followed by arrows being launched from the soldiers of Stonehaven and Actalon on both flanks of the Trisidian Army. Like a cold wind, the sharp arrows pierced the flesh of the enemy. The Army of Trisidian was experiencing glacial, wrenching pain as the poisoned arrows stabbed their bodies. The Dark Riders and Black Wolves were uttering wild cries from their abysmal depths of despair.
REFERENCES
Lewis, Jon. ed. (1998). The New American Cinema. London: Duke University Press.
Corliss, Richard. (September 24, 1990). Cinema: Married to The Mob. Time, Inc. http://www.time.com/time/magazine/article/0,9171,971220-3,00.html
Rothenberg, Robert S. (March 2003). Building a DVD Library -- the Warner Way. USA Today, Volume 131, Issue 2694.
Note: For a more detailed discussion of the filmmaking and how it applies to a film director, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
August 20, 2016
The Inciting Incident in Filmmaking and Novel Writing
The Inciting Incident in Filmmaking and Novel Writing
For the purposes of my discussion on a film screenplay inciting incident and how it can be integrated into the writing of a fiction novel, I chose to preview the 1941 Film Screenplay of "The Wolf Man." This screenplay was produced by Universal Pictures. After describing the definition of the inciting incident and its application in the classic motion picture "The Wolf Man," I will provide an excerpt of the inciting incident from my epic medieval fantasy book, "The Wolves of Trisidian."
Definition of the Inciting Incident
According to Reference.com, "An inciting incident is an event that sets the plot of a book, movie or play into motion. This normally occurs after the background and setting have been given. The inciting incident is usually followed by the rising action of the plot, which is the basic build up of conflict that leads to the climax. There may be several other points involved in the rising acting, but it should all stem from the inciting incident. The plot points that come after the inciting incident will always be related back to that point because it is the launching point that sets the character on a journey." (Reference.com, 2016).
Inciting Incident in the Classic Flm -- "The Wolf Man"
The inciting incident in the screenplay for the film "The Wolf Man" begins when Larry and Gwen are walking in the woods and they hear a wolf howling. When they hear their friend Jenny scream, Larry rushes to help her. He then sees her laying on the ground being attacked by a fierce wolf. Larry then pulls the wolf off of Jenny and beats it to death with a silver-handed walking cane. As Gwen rushes up, she finds Jenny dead and Larry badly bitten.
The script to this inciting incident reads as follows:
EXT. - The Path Leading To Bela's Tent - Night - Long Shot.
In the moonlight, below a great tree, lies Jenny. Above her stands a huge animal, a wolf. Larry runs into the scene.
EXT. - Woods - Night - Med. Close - Larry and the Wolf.
Larry stops as he sees the wolf and Jenny. The beast turns, and looks at him with eyes like burning coals. Larry sees the animal crouch -- he lifts his cane, ready to smash it over the animal's head. The wolf springs forward to attack him.
EXT. - Woods - Another Angle.
The animal jumps at Larry. Larry crashes the silver handle of his stick down on the wolf's head, but the beast hangs on.
EXT. - Woods - Close Shot.
The wolf's head, he teeth tearing Larry's coat right over his heart, to shreds. Larry hits the animal with his left fist, and stumbles back.
EXT. - Woods - Med. Close.
The beast attacks him again, but Larry crashes his stick over the animal's skull... once... twice... The wolf collapses.
Discussion of the Inciting Incident in "The Wolf Man"
This inciting moment is where Larry begins to suffer an inner battle. He begins to fear that he is now turned into a werewolf. This incident actually hooks the audience with a deep emotional, yet rational response. The event tugs at the audience's feelings. The Wolf Man is a scary creature; however, he is also lonely and different than everyone else. Even though the Wolf Man is scary to the audience, the fact that he is tormented by a body that has gone out of control causes the audience to feel sympathetic and sorry for the story character. In actuality, the Wolf Man is an underdog. As the protagonist of the story, the Wolf Man at the moment of the inciting incident has a conflict that may or may not seem solvable. With the limited willpower he has to not be a werewolf coupled with his intellectual, emotional, social, and physical capacities against the antagonistic people and environment in which he exists, the Wolf Man appears to be overwhelmed as his balance of life is turned upside down.
The above video "Larry is Bitten - The Wolf Man (1941)" was uploaded by Moonlight Dawn. to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of the Inciting Incident Principle of Filmmaking in Novel Writing
I incorporated an inciting incident in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following excerpt from my novel depicts the inciting incident in the scene where Squire Geoffrey Talbot's trusted friend, Lucian Randall from Castle Trisidian, appears at the Gates of Castle Stonehaven. Lucian is a refugee from Castle Trisidian. He is bringing a secret message to the Lord Alexander of Stonehaven. On his own accord, Lucian wants to tell Lord Alexander a clandestine message about his father, Lord Randall of Trisidian. Within an hour after Lucian’s arrival at his castle, Lord Alexander assembles the Knights of Stonehaven in the Great Hall to listen to Lucian’s message. When Geoffrey sees Lucian in the Great Hall, Lucian's eyes are earnest and intent about something. Suddenly, his expression stills and grows even more sober than before. He is focusing on something terrible. Whatever is on his mind, it is deeply grave and serious. With this background in mind, here is my excerpt with the inciting incident in The Wolves of Trisidian novel. Everything prior to this point in time was background, but everything after this point is the actual story in the novel of The Wolves of Trisidian.
Inciting Incident in The Wolves of Trisidian
When Lord Alexander walked into the assembly of the Great Hall, all of the knights stood at attention. The assembly was reverentially quiet. Lord Alexander broke the awkward silence and said to the knightly assembly, “Today, Lucian Randall, the son of Lord Draegan Randall of Trisidian, comes to us with a covert message.” Turning to Lucian, Lord Alexander said, “Share your message freely.”
Lucian said, “Thank you, my Lord.” Turning to the assembly, he said, “Knights of Stonehaven, I come here today on my own volition. My father, Lord Randall, does not know I am here, nor does he know what I am about to say.”
After hearing Lucian’s words of introduction, I knew in my heart that another significant conflict and dilemma was now about to be introduced to our tormented Land of Jandor. I felt it in my bones. Something paramount had to occur for Lucian to step out against Lord Randall in such a secretive manner. I stood still, pensively waiting for what was coming next.
Lucian looked at the assembly with a tight strain upon his face. His expression intensified. He said, “Lord Randall of Trisidian has sent an Army of Black Wolves and Dark Riders to attack the City of Granador. To survive such an attack, the citizens of Granador will need the assistance of the Jandor Alliance.”
Sir Vezian asked, “How large of an army, and when is this attack scheduled to occur?
Lucian said, “The deployed Army of Trisidian is comprised of four Centuriae, a total of 320 Dark Riders with an equal number of Black War-Wolves. The attack is scheduled to occur 3 days from now. They will attack from the north as a swarm of hornets through the Plain of Granador.”
Discussion of the Inciting Incident in The Wolves of Trisidian: As you can see, the inciting incident in The Wolves of Trisidian fiction novel takes place early in the First Act of the story and it sets into motion a conflict that may or may not seem solvable to Lord Alexander of Stonehaven. The inciting incident also has a direct effect upon the protagonist, Squire Geoffrey Talbot, since he will be ordered to deploy with the Army of Stonehaven to engage in an upcoming major battle to stop the Army of Trisidian from attacking the unwalled City of Granador.
REFERENCES
Reference.com Website. (2016). "Q: What is an inciting incident?." Retrieved on 20 August 2016 from https://www.reference.com/education/inciting-incident-8b86c25c4f2d7d54#
Note: For a more detailed discussion of the filmmaking and how it applies to a film director, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
For the purposes of my discussion on a film screenplay inciting incident and how it can be integrated into the writing of a fiction novel, I chose to preview the 1941 Film Screenplay of "The Wolf Man." This screenplay was produced by Universal Pictures. After describing the definition of the inciting incident and its application in the classic motion picture "The Wolf Man," I will provide an excerpt of the inciting incident from my epic medieval fantasy book, "The Wolves of Trisidian."
Definition of the Inciting Incident
According to Reference.com, "An inciting incident is an event that sets the plot of a book, movie or play into motion. This normally occurs after the background and setting have been given. The inciting incident is usually followed by the rising action of the plot, which is the basic build up of conflict that leads to the climax. There may be several other points involved in the rising acting, but it should all stem from the inciting incident. The plot points that come after the inciting incident will always be related back to that point because it is the launching point that sets the character on a journey." (Reference.com, 2016).
Inciting Incident in the Classic Flm -- "The Wolf Man"
The inciting incident in the screenplay for the film "The Wolf Man" begins when Larry and Gwen are walking in the woods and they hear a wolf howling. When they hear their friend Jenny scream, Larry rushes to help her. He then sees her laying on the ground being attacked by a fierce wolf. Larry then pulls the wolf off of Jenny and beats it to death with a silver-handed walking cane. As Gwen rushes up, she finds Jenny dead and Larry badly bitten.
The script to this inciting incident reads as follows:
EXT. - The Path Leading To Bela's Tent - Night - Long Shot.
In the moonlight, below a great tree, lies Jenny. Above her stands a huge animal, a wolf. Larry runs into the scene.
EXT. - Woods - Night - Med. Close - Larry and the Wolf.
Larry stops as he sees the wolf and Jenny. The beast turns, and looks at him with eyes like burning coals. Larry sees the animal crouch -- he lifts his cane, ready to smash it over the animal's head. The wolf springs forward to attack him.
EXT. - Woods - Another Angle.
The animal jumps at Larry. Larry crashes the silver handle of his stick down on the wolf's head, but the beast hangs on.
EXT. - Woods - Close Shot.
The wolf's head, he teeth tearing Larry's coat right over his heart, to shreds. Larry hits the animal with his left fist, and stumbles back.
EXT. - Woods - Med. Close.
The beast attacks him again, but Larry crashes his stick over the animal's skull... once... twice... The wolf collapses.
Discussion of the Inciting Incident in "The Wolf Man"
This inciting moment is where Larry begins to suffer an inner battle. He begins to fear that he is now turned into a werewolf. This incident actually hooks the audience with a deep emotional, yet rational response. The event tugs at the audience's feelings. The Wolf Man is a scary creature; however, he is also lonely and different than everyone else. Even though the Wolf Man is scary to the audience, the fact that he is tormented by a body that has gone out of control causes the audience to feel sympathetic and sorry for the story character. In actuality, the Wolf Man is an underdog. As the protagonist of the story, the Wolf Man at the moment of the inciting incident has a conflict that may or may not seem solvable. With the limited willpower he has to not be a werewolf coupled with his intellectual, emotional, social, and physical capacities against the antagonistic people and environment in which he exists, the Wolf Man appears to be overwhelmed as his balance of life is turned upside down.
The above video "Larry is Bitten - The Wolf Man (1941)" was uploaded by Moonlight Dawn. to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of the Inciting Incident Principle of Filmmaking in Novel Writing
I incorporated an inciting incident in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following excerpt from my novel depicts the inciting incident in the scene where Squire Geoffrey Talbot's trusted friend, Lucian Randall from Castle Trisidian, appears at the Gates of Castle Stonehaven. Lucian is a refugee from Castle Trisidian. He is bringing a secret message to the Lord Alexander of Stonehaven. On his own accord, Lucian wants to tell Lord Alexander a clandestine message about his father, Lord Randall of Trisidian. Within an hour after Lucian’s arrival at his castle, Lord Alexander assembles the Knights of Stonehaven in the Great Hall to listen to Lucian’s message. When Geoffrey sees Lucian in the Great Hall, Lucian's eyes are earnest and intent about something. Suddenly, his expression stills and grows even more sober than before. He is focusing on something terrible. Whatever is on his mind, it is deeply grave and serious. With this background in mind, here is my excerpt with the inciting incident in The Wolves of Trisidian novel. Everything prior to this point in time was background, but everything after this point is the actual story in the novel of The Wolves of Trisidian.
Inciting Incident in The Wolves of Trisidian
When Lord Alexander walked into the assembly of the Great Hall, all of the knights stood at attention. The assembly was reverentially quiet. Lord Alexander broke the awkward silence and said to the knightly assembly, “Today, Lucian Randall, the son of Lord Draegan Randall of Trisidian, comes to us with a covert message.” Turning to Lucian, Lord Alexander said, “Share your message freely.”
Lucian said, “Thank you, my Lord.” Turning to the assembly, he said, “Knights of Stonehaven, I come here today on my own volition. My father, Lord Randall, does not know I am here, nor does he know what I am about to say.”
After hearing Lucian’s words of introduction, I knew in my heart that another significant conflict and dilemma was now about to be introduced to our tormented Land of Jandor. I felt it in my bones. Something paramount had to occur for Lucian to step out against Lord Randall in such a secretive manner. I stood still, pensively waiting for what was coming next.
Lucian looked at the assembly with a tight strain upon his face. His expression intensified. He said, “Lord Randall of Trisidian has sent an Army of Black Wolves and Dark Riders to attack the City of Granador. To survive such an attack, the citizens of Granador will need the assistance of the Jandor Alliance.”
Sir Vezian asked, “How large of an army, and when is this attack scheduled to occur?
Lucian said, “The deployed Army of Trisidian is comprised of four Centuriae, a total of 320 Dark Riders with an equal number of Black War-Wolves. The attack is scheduled to occur 3 days from now. They will attack from the north as a swarm of hornets through the Plain of Granador.”
Discussion of the Inciting Incident in The Wolves of Trisidian: As you can see, the inciting incident in The Wolves of Trisidian fiction novel takes place early in the First Act of the story and it sets into motion a conflict that may or may not seem solvable to Lord Alexander of Stonehaven. The inciting incident also has a direct effect upon the protagonist, Squire Geoffrey Talbot, since he will be ordered to deploy with the Army of Stonehaven to engage in an upcoming major battle to stop the Army of Trisidian from attacking the unwalled City of Granador.
REFERENCES
Reference.com Website. (2016). "Q: What is an inciting incident?." Retrieved on 20 August 2016 from https://www.reference.com/education/inciting-incident-8b86c25c4f2d7d54#
Note: For a more detailed discussion of the filmmaking and how it applies to a film director, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
August 13, 2016
Exploring Steven Spielberg's Films from a Human Perspective
Steven Spielberg's Films from a Human Perspective
Exploring Steven Spielberg's films reveals an artistry built on foundations from a human perspective. In addition to promoting "human compassion" in his films, several of his movies included an exhortation towards "international cooperation" among nations of people in the world today; in particular, relations between Russia and the United States.
Human Compassion in Spielberg's Films
Spielberg has always had compassion for others less fortunate than himself. He has carried this character trait throughout his life, and his compassion for others is evidenced through his filmmaking. For example, in Saving Private Ryan, Spielberg presents a "bereaved mother (here, one who has lost three of her four sons in action), the surviving son who becomes the object of a rescue operation, the compassionate captain eager to located Private Ryan so that he can return to his family and his teaching job" (Dick, 2002, p. 147).
A Plea for International Cooperation in Spielberg's Films
Spielberg not only shows compassion for people at an individual level, but on national levels as well. This is exhibited through his plea for international cooperation. Steven Spielberg's E.T. (Extra-Terrestrial) and Close Encounters of the Third Kind "metaphorically dramatized the need for understanding and the eventual thaw in [Cold War] relations between" Russia and America (Palmer, 1995, p. 209). Spielberg's extraterrestrials were not bent on destroying people on earth such as that which was promoted in the 1953 thriller entitled War of the Worlds. Instead, he depicts the extraterrestrials as "non-treachorous" (Dick, 2002, p. 174) with a different "attitude toward humans." (Dick, 2002, p. 174). Rather than aggression, they have the goal "to enlighten humans about the nature of aliens in the hope of bridging the gap between 'us' and 'them'" (Dick, 2002, p. 174). For example, in Close Encounters of the Third Kind, the child does not fear the aliens because they bring love to the human race. In E.T., the alien's "tone is one of love, friendship, and understanding replacing suspicion, fear, prejudice, and belligerence" (Palmer, 1995, p. 232). Through these films, "Spielberg is advocating tearing down the wall that divides one group from another, one race from another" (Dick, 2002, p. 177), such as that which existed between Russia and America throughout the Cold War period. The philosophy of these films is demonstrated through the metaphoric example of aliens as they relate to humans. Through superb directorial artistry, Spielberg brings forth a message that advocates doing away with America's traditional efforts of dehumanizing the Russian people. In contrast with suspicion and lack of trust, he exhorts Americans to take interest in the Russians "as people" (Palmer, 1995, p. 209). Therefore, Close Encounters of the Third Kind and E.T. are essentially fables "for international cooperation, a warning that people cannot continue to react violently toward those who are different from them." (Palmer, 1995, p. 232). Spielberg does an absolutely superior job in these films by suggesting that "Russians and Americans [begin] working together for common goals" (Palmer, 1995, p. 232).
Examples of Novel Writing from a Human Perspective
I incorporated the human perspective filmmaking principle in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. In the first excerpt of the story below, I emphasize the element of human compassion. In the second excerpt, incorporated a plea for international cooperation.
Story Excerpt #1 -- Human Compassion
In this scene, the protagonist, Sir Geoffrey Talbot, is engaged in a battle of swords with an enemy Dark Rider from the evil Land of Trisidian. After a furious sword fight, the Dark Rider suffers a severe injury causing him to drop his sword and fall to the ground. As Geoffrey stands over the injured enemy soldier, he lets him live. Geoffrey decides to not to thrust the sharp blade of his sword into the defenseless enemy soldier and kill him. Rather, Geoffrey walks away and lets the soldier live. My goal was to stir feelings of deep sympathy and sorrow for the injured enemy soldier who was stricken by such great misfortune in battle. In doing so, my hope was that the reading audience would have sympathy for the fallen soldier and understand why Geoffrey showed compassion over his fallen enemy by letting the soldier live. The story excerpt of this scene from my book on The Wolves of Trisidian is as follows:
During the final moments of the fight, I kept my sword raised from the middle of my torso to the top of my head. This allowed me to quickly block against any maneuver he made against me. Then, he made an incurable error. He made a thoughtless thrusting maneuver towards me. His blade completely missed my body. I immediately took advantage of his fatal mistake and ended the fight with a blow that completely separated his left arm from the shoulder. The Rider immediately fell to the ground. He was squirming in pain. The injured Rider got up on his knees and tried to crawl away from me. With a severed arm, it was apparent to me he was no longer a threat to anyone. He pulled himself across the ground like a wounded snake that drags its slow length along. I had pity on him and let him be.
Story Excerpt #2 -- A Plea for International Cooperation
In this scene, I incorporated a plea for international cooperation by citing an example of the people living in the City of Granador, the smallest member nation of the Jandor Alliance. By the people's own decision, Granador is an unwalled city. As a plea for international cooperation, the people of Granador believe that unwalled cities bolster the Alliance's ultimate goal of world peace and unity. However, as you read the story narrative below, you will discover that many other citizens who live in other areas outside the City of Granador firmly believe that walled cities and strongly built castles are a necessary deterrent to war and essentially promote peace through powerful military strength. In this scene, my goal was to spark interest in the reading audience by stirring their thoughts and perhaps even reframing their perspective on both sides of the issue by assessing their own views regarding the controversial topic of international cooperation.
“Even though their surrounding villages and towns have been massacred in the past, the people of Granador still do not permit construction of protective walls around them.”
Sir Vezian replied, “The leaders of the Province of Granador believe the absence of walls promotes peace and trust within the region. They are strong in this belief.”
“Their belief is stalwart, especially after having endured such terrible hardship over the years. They have endured many attacks from the Dark Riders and Black Wolves of Trisidian.”
“The people of Granador remain steadfast in having unwalled cities. It is a testimony to the regions around them.”
“They are sincere in their thoughts concerning this matter.”
“They believe walled cities tear away from the Alliance’s ultimate goal of world peace and unity,” Sir Vezian said.
“Having unwalled cities puts the lives of the people at great risk. They are constantly facing the danger of being invaded by military forces outside their region, like the Army of Trisidian.”
“True, but to help avert this temptation by their enemies, the Province of Granador became a member of the Alliance of Jandor. They are trusting their membership will dissuade aggressors from attacking them.”
“It apparently is still not sufficient to stop Trisidian from launching their upcoming invasion upon Granador,” I said.
“The issue of walled cities versus unwalled cities has always been a controversial issue among the people of Jandor.”
“The Jandor Alliance is definitely a strong, stabilizing force and deterrent to other military forces from attacking member nations. Nevertheless, I still believe that strong, defensive walls still help ensure peace and security in the land.”
REFERENCES
Dick, Bernard. (2002). Anatomy of Film, 4th Ed. New York: St. Martin's Press.
Palmer, William. (1995). The Films of the Eighties: A Social History. Illinois: Southern Illinois University Press.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
Exploring Steven Spielberg's films reveals an artistry built on foundations from a human perspective. In addition to promoting "human compassion" in his films, several of his movies included an exhortation towards "international cooperation" among nations of people in the world today; in particular, relations between Russia and the United States.
Human Compassion in Spielberg's Films
Spielberg has always had compassion for others less fortunate than himself. He has carried this character trait throughout his life, and his compassion for others is evidenced through his filmmaking. For example, in Saving Private Ryan, Spielberg presents a "bereaved mother (here, one who has lost three of her four sons in action), the surviving son who becomes the object of a rescue operation, the compassionate captain eager to located Private Ryan so that he can return to his family and his teaching job" (Dick, 2002, p. 147).
A Plea for International Cooperation in Spielberg's Films
Spielberg not only shows compassion for people at an individual level, but on national levels as well. This is exhibited through his plea for international cooperation. Steven Spielberg's E.T. (Extra-Terrestrial) and Close Encounters of the Third Kind "metaphorically dramatized the need for understanding and the eventual thaw in [Cold War] relations between" Russia and America (Palmer, 1995, p. 209). Spielberg's extraterrestrials were not bent on destroying people on earth such as that which was promoted in the 1953 thriller entitled War of the Worlds. Instead, he depicts the extraterrestrials as "non-treachorous" (Dick, 2002, p. 174) with a different "attitude toward humans." (Dick, 2002, p. 174). Rather than aggression, they have the goal "to enlighten humans about the nature of aliens in the hope of bridging the gap between 'us' and 'them'" (Dick, 2002, p. 174). For example, in Close Encounters of the Third Kind, the child does not fear the aliens because they bring love to the human race. In E.T., the alien's "tone is one of love, friendship, and understanding replacing suspicion, fear, prejudice, and belligerence" (Palmer, 1995, p. 232). Through these films, "Spielberg is advocating tearing down the wall that divides one group from another, one race from another" (Dick, 2002, p. 177), such as that which existed between Russia and America throughout the Cold War period. The philosophy of these films is demonstrated through the metaphoric example of aliens as they relate to humans. Through superb directorial artistry, Spielberg brings forth a message that advocates doing away with America's traditional efforts of dehumanizing the Russian people. In contrast with suspicion and lack of trust, he exhorts Americans to take interest in the Russians "as people" (Palmer, 1995, p. 209). Therefore, Close Encounters of the Third Kind and E.T. are essentially fables "for international cooperation, a warning that people cannot continue to react violently toward those who are different from them." (Palmer, 1995, p. 232). Spielberg does an absolutely superior job in these films by suggesting that "Russians and Americans [begin] working together for common goals" (Palmer, 1995, p. 232).
Examples of Novel Writing from a Human Perspective
I incorporated the human perspective filmmaking principle in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. In the first excerpt of the story below, I emphasize the element of human compassion. In the second excerpt, incorporated a plea for international cooperation.
Story Excerpt #1 -- Human Compassion
In this scene, the protagonist, Sir Geoffrey Talbot, is engaged in a battle of swords with an enemy Dark Rider from the evil Land of Trisidian. After a furious sword fight, the Dark Rider suffers a severe injury causing him to drop his sword and fall to the ground. As Geoffrey stands over the injured enemy soldier, he lets him live. Geoffrey decides to not to thrust the sharp blade of his sword into the defenseless enemy soldier and kill him. Rather, Geoffrey walks away and lets the soldier live. My goal was to stir feelings of deep sympathy and sorrow for the injured enemy soldier who was stricken by such great misfortune in battle. In doing so, my hope was that the reading audience would have sympathy for the fallen soldier and understand why Geoffrey showed compassion over his fallen enemy by letting the soldier live. The story excerpt of this scene from my book on The Wolves of Trisidian is as follows:
During the final moments of the fight, I kept my sword raised from the middle of my torso to the top of my head. This allowed me to quickly block against any maneuver he made against me. Then, he made an incurable error. He made a thoughtless thrusting maneuver towards me. His blade completely missed my body. I immediately took advantage of his fatal mistake and ended the fight with a blow that completely separated his left arm from the shoulder. The Rider immediately fell to the ground. He was squirming in pain. The injured Rider got up on his knees and tried to crawl away from me. With a severed arm, it was apparent to me he was no longer a threat to anyone. He pulled himself across the ground like a wounded snake that drags its slow length along. I had pity on him and let him be.
Story Excerpt #2 -- A Plea for International Cooperation
In this scene, I incorporated a plea for international cooperation by citing an example of the people living in the City of Granador, the smallest member nation of the Jandor Alliance. By the people's own decision, Granador is an unwalled city. As a plea for international cooperation, the people of Granador believe that unwalled cities bolster the Alliance's ultimate goal of world peace and unity. However, as you read the story narrative below, you will discover that many other citizens who live in other areas outside the City of Granador firmly believe that walled cities and strongly built castles are a necessary deterrent to war and essentially promote peace through powerful military strength. In this scene, my goal was to spark interest in the reading audience by stirring their thoughts and perhaps even reframing their perspective on both sides of the issue by assessing their own views regarding the controversial topic of international cooperation.
“Even though their surrounding villages and towns have been massacred in the past, the people of Granador still do not permit construction of protective walls around them.”
Sir Vezian replied, “The leaders of the Province of Granador believe the absence of walls promotes peace and trust within the region. They are strong in this belief.”
“Their belief is stalwart, especially after having endured such terrible hardship over the years. They have endured many attacks from the Dark Riders and Black Wolves of Trisidian.”
“The people of Granador remain steadfast in having unwalled cities. It is a testimony to the regions around them.”
“They are sincere in their thoughts concerning this matter.”
“They believe walled cities tear away from the Alliance’s ultimate goal of world peace and unity,” Sir Vezian said.
“Having unwalled cities puts the lives of the people at great risk. They are constantly facing the danger of being invaded by military forces outside their region, like the Army of Trisidian.”
“True, but to help avert this temptation by their enemies, the Province of Granador became a member of the Alliance of Jandor. They are trusting their membership will dissuade aggressors from attacking them.”
“It apparently is still not sufficient to stop Trisidian from launching their upcoming invasion upon Granador,” I said.
“The issue of walled cities versus unwalled cities has always been a controversial issue among the people of Jandor.”
“The Jandor Alliance is definitely a strong, stabilizing force and deterrent to other military forces from attacking member nations. Nevertheless, I still believe that strong, defensive walls still help ensure peace and security in the land.”
REFERENCES
Dick, Bernard. (2002). Anatomy of Film, 4th Ed. New York: St. Martin's Press.
Palmer, William. (1995). The Films of the Eighties: A Social History. Illinois: Southern Illinois University Press.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
August 8, 2016
Director M. Night Shyamalan and His Use of Frightening Scenes
M. Night Shyamalan's Style of Directing
M. Night Shyamalan's style of directing infuses several artistic elements. The integration of frightening scenes, children's fears with male virtue, scary music, tense family scenes, and violence are key themes throughout the films that he has directed. This blog post will address the thematic element of 'frightening scenes' that M. Night Shyamalan used in his film, "Signs." At the end of the post, I will provide an example of how I applied this principle of filmmaking in the writing of my epic medieval fantasy novel, The Wolves of Trisidian.
Frightening Scenes
M. Night Shyamalan incorporated many frightening scenes in his film, "Signs." In this movie, his screenwriting talent and artistic directing style demonstrated that he had the capability as a film director to build upon fearful and alarming circumstances. He incorporated scary, terrifying, startling, and upsetting scenes throughout the film. In doing so, Shyamalan instilled an emotional tenseness in the film viewing audience by creating events in the movie where something can or does happen while at the same time focusing on creepy, chilling, and terrifying situations and conditions.
The Movie Plot in "Signs"
"Signs" is a suspense thriller. In this film, "a farmer discovers crop circles on his land... [and] assumes them to be a hoax, but his investigation leads him to suspect that aliens may be responsible and that the entire planet is in danger" (Film Indexes Online, 2004). Shyamalan's "phenomenon of the sudden appearance of circles in cornfields... [conveys the message] that aliens are coming, and the family of Graham Hess is their target" (Wall, 2003, Online). Graham Hess (played by Mel Gibson) is a single parent and raising his two children (Morgan and Bo) on their Pennsylvania farm. Due to the unfortunate death of his wife, Graham Hess left his previous occupation as a Reverend. When Graham finds crop circles in his cornfield, the police along with his brother, Merrill (played by Joaquin Phoenix) try to help him and his family. As Graham and his family watch television and observe television footage being broadcast about other crop circles all around the world, they begin to think that there is an alien invasion. As the hours proceed, they experience horrific circumstances on their land and in their farmhouse. The family is concerned for their safety and their trust in God is challenged as they go through these frightening experiences. (IMDB, 2004).
Application of Frightening Scenes in the Filming of "Signs"
In the movie "Signs", Graham wakes up in a sudden manner because of screaming he hears in the distance. As he and his brother, Merrill, run through a cornfield to find his children, they find them in a daze looking at a large crop circle. This scene is later complemented by the Graham's daughter, Bo, who wakes up her father telling him that there is a monster outside of her window. A few moments later in the film, Graham sees a creature-like figure on top of the roof of his farmhouse. With fright and fear already established among the viewing audience, this emotion is further enhanced as the baby monitor that Morgan has starts to receive eerie sounds, as if from outer space. Further building upon the suspense, Graham and his family begin to page through a book about aliens. In the book, they see a burning farmhouse (similar to their house) that was attacked by laser beams from a flying saucer. In the picture boo, there are three dead bodies on the ground. As the emotion of fear continues to climax, Shyamalan shows claws coming from underneath the door in Graham's house. All of these scenes demonstrate the effective use of frightening incidents in Shyamalan's movie, "Signs". (Screen It Entertainment Reviews, 2004).
The above video "Signs (2002) Official Trailer" was uploaded by Nick B. to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Application of Frightening Scenes in the Novel Writing
I incorporated the filmmaking principle of frightening scenes several times in my epic medieval fantasy novel, The Wolves of Trisidian. In one particular scene, I did this by building upon an unusual, fearful, alarming circumstance in the story. In this scene, the protagonist of the story (Sir Geoffrey Talbot) is alone with his beloved Lady Cortay in a Secret Garden. While they were relaxing in a serene, peaceful setting, I incorporated a scary, terrifying, startling event that instills in these two major characters an emotional tenseness. The story narrative is written from the first person point-of-view from the perspective of the protagonist. Therefore, the reading audience has a great potential to become intimately involved in the scene as if they were there with the major characters observing the state of events first-hand. While the startling event is going on, I focus on creepy, chilling, and terrifying situations and conditions to rouse the emotion of fear in this dramatic scene. After reading the story excerpt below, my hope is that your emotions will also be stirred so that you can appreciate how integrating the filmmaking principle of frightening scenes into your fiction novel can also have a significant impact upon the emotions of the reading audience.
Suddenly, we heard the loud, rushing sound of a huge flock of black starlings outside the Secret Garden. They were soaring upwards into the sky as swift as the black smoke rises through the earth’s ruptured crust from the magma chamber of an erupting volcano. The total number of sky birds numbered in the hundreds of thousands. Without warning, the flock of sky birds formed into a Sort Sol, a phenomenon known as the Black Sun.
Cortay said, “I sense the presence of evil.”
I felt a dark, cold, baneful habitation residing outside the Secret Garden, as well. The black birds seemed like veiled ghosts hurrying past us as though being driven to their land of shadows by shuddering fear. Never before had I ever seen such a strange occurrence in nature. There were so many black starlings in the sky that their haunting commorancy began to obscure the path of the sun’s rays upon our land. The birds swam the flood of air like tiny ships. Forthwith, the birds started to converge into a series of multifaceted images across the unfeigned sky. I said, “An uprising of evil is swelling outside the gate. Like great black birds, the demons haunt the woods.”
Cortay replied in a small, frightened voice. “The screeching sounds of the birds are whistling sharply in the air like a colossal gathering of vipers. Their effigies are darkening the orange-colored firmament.” Her face became clouded with uneasiness. “I feel like we are helpless little sparrows in the warm nest of the Secret Garden.”
The black starlings seemed to dance like danseurs and danseuses in a suffering ballet across the swarthy sky. Viewing this iniquitous occurrence was hypnotizing. It was an unnerving sight. I searched for a plausible explanation. “It is as if an aura of evil launched itself upwards into the sky.”
Cortay said, “The atmosphere is frightful as the serpent’s hiss.”
REFERENCES
Film Indexes Online. (2004). Signs. Film Index International: British Film Institute.
Internet Movie Database (IMDB). (2010). Synopsis for Signs. Retrieved on June 23, 2010, from http://www.imdb.com/title/tt0286106/synopsis
Screen-It Entertainment Reviews. (2004). Screen-It, Inc. Retrieved on April 2, 2004, from http://www.screenit.com/index.html
Wall, James M. (February 8, 2003). Top Ten Films of '02. Christian Century, Volume 120, Issue 3.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
M. Night Shyamalan's style of directing infuses several artistic elements. The integration of frightening scenes, children's fears with male virtue, scary music, tense family scenes, and violence are key themes throughout the films that he has directed. This blog post will address the thematic element of 'frightening scenes' that M. Night Shyamalan used in his film, "Signs." At the end of the post, I will provide an example of how I applied this principle of filmmaking in the writing of my epic medieval fantasy novel, The Wolves of Trisidian.
Frightening Scenes
M. Night Shyamalan incorporated many frightening scenes in his film, "Signs." In this movie, his screenwriting talent and artistic directing style demonstrated that he had the capability as a film director to build upon fearful and alarming circumstances. He incorporated scary, terrifying, startling, and upsetting scenes throughout the film. In doing so, Shyamalan instilled an emotional tenseness in the film viewing audience by creating events in the movie where something can or does happen while at the same time focusing on creepy, chilling, and terrifying situations and conditions.
The Movie Plot in "Signs"
"Signs" is a suspense thriller. In this film, "a farmer discovers crop circles on his land... [and] assumes them to be a hoax, but his investigation leads him to suspect that aliens may be responsible and that the entire planet is in danger" (Film Indexes Online, 2004). Shyamalan's "phenomenon of the sudden appearance of circles in cornfields... [conveys the message] that aliens are coming, and the family of Graham Hess is their target" (Wall, 2003, Online). Graham Hess (played by Mel Gibson) is a single parent and raising his two children (Morgan and Bo) on their Pennsylvania farm. Due to the unfortunate death of his wife, Graham Hess left his previous occupation as a Reverend. When Graham finds crop circles in his cornfield, the police along with his brother, Merrill (played by Joaquin Phoenix) try to help him and his family. As Graham and his family watch television and observe television footage being broadcast about other crop circles all around the world, they begin to think that there is an alien invasion. As the hours proceed, they experience horrific circumstances on their land and in their farmhouse. The family is concerned for their safety and their trust in God is challenged as they go through these frightening experiences. (IMDB, 2004).
Application of Frightening Scenes in the Filming of "Signs"
In the movie "Signs", Graham wakes up in a sudden manner because of screaming he hears in the distance. As he and his brother, Merrill, run through a cornfield to find his children, they find them in a daze looking at a large crop circle. This scene is later complemented by the Graham's daughter, Bo, who wakes up her father telling him that there is a monster outside of her window. A few moments later in the film, Graham sees a creature-like figure on top of the roof of his farmhouse. With fright and fear already established among the viewing audience, this emotion is further enhanced as the baby monitor that Morgan has starts to receive eerie sounds, as if from outer space. Further building upon the suspense, Graham and his family begin to page through a book about aliens. In the book, they see a burning farmhouse (similar to their house) that was attacked by laser beams from a flying saucer. In the picture boo, there are three dead bodies on the ground. As the emotion of fear continues to climax, Shyamalan shows claws coming from underneath the door in Graham's house. All of these scenes demonstrate the effective use of frightening incidents in Shyamalan's movie, "Signs". (Screen It Entertainment Reviews, 2004).
The above video "Signs (2002) Official Trailer" was uploaded by Nick B. to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Application of Frightening Scenes in the Novel Writing
I incorporated the filmmaking principle of frightening scenes several times in my epic medieval fantasy novel, The Wolves of Trisidian. In one particular scene, I did this by building upon an unusual, fearful, alarming circumstance in the story. In this scene, the protagonist of the story (Sir Geoffrey Talbot) is alone with his beloved Lady Cortay in a Secret Garden. While they were relaxing in a serene, peaceful setting, I incorporated a scary, terrifying, startling event that instills in these two major characters an emotional tenseness. The story narrative is written from the first person point-of-view from the perspective of the protagonist. Therefore, the reading audience has a great potential to become intimately involved in the scene as if they were there with the major characters observing the state of events first-hand. While the startling event is going on, I focus on creepy, chilling, and terrifying situations and conditions to rouse the emotion of fear in this dramatic scene. After reading the story excerpt below, my hope is that your emotions will also be stirred so that you can appreciate how integrating the filmmaking principle of frightening scenes into your fiction novel can also have a significant impact upon the emotions of the reading audience.
Suddenly, we heard the loud, rushing sound of a huge flock of black starlings outside the Secret Garden. They were soaring upwards into the sky as swift as the black smoke rises through the earth’s ruptured crust from the magma chamber of an erupting volcano. The total number of sky birds numbered in the hundreds of thousands. Without warning, the flock of sky birds formed into a Sort Sol, a phenomenon known as the Black Sun.
Cortay said, “I sense the presence of evil.”
I felt a dark, cold, baneful habitation residing outside the Secret Garden, as well. The black birds seemed like veiled ghosts hurrying past us as though being driven to their land of shadows by shuddering fear. Never before had I ever seen such a strange occurrence in nature. There were so many black starlings in the sky that their haunting commorancy began to obscure the path of the sun’s rays upon our land. The birds swam the flood of air like tiny ships. Forthwith, the birds started to converge into a series of multifaceted images across the unfeigned sky. I said, “An uprising of evil is swelling outside the gate. Like great black birds, the demons haunt the woods.”
Cortay replied in a small, frightened voice. “The screeching sounds of the birds are whistling sharply in the air like a colossal gathering of vipers. Their effigies are darkening the orange-colored firmament.” Her face became clouded with uneasiness. “I feel like we are helpless little sparrows in the warm nest of the Secret Garden.”
The black starlings seemed to dance like danseurs and danseuses in a suffering ballet across the swarthy sky. Viewing this iniquitous occurrence was hypnotizing. It was an unnerving sight. I searched for a plausible explanation. “It is as if an aura of evil launched itself upwards into the sky.”
Cortay said, “The atmosphere is frightful as the serpent’s hiss.”
REFERENCES
Film Indexes Online. (2004). Signs. Film Index International: British Film Institute.
Internet Movie Database (IMDB). (2010). Synopsis for Signs. Retrieved on June 23, 2010, from http://www.imdb.com/title/tt0286106/synopsis
Screen-It Entertainment Reviews. (2004). Screen-It, Inc. Retrieved on April 2, 2004, from http://www.screenit.com/index.html
Wall, James M. (February 8, 2003). Top Ten Films of '02. Christian Century, Volume 120, Issue 3.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
August 6, 2016
Language of Cinema -- a Powerful Means of Communication
The Matter of Expression
In his book, "Film Theory: An Introduction," Robert Stam describes his perspective of narrative film. Quoting film theorist Christian Metz, Stam states "that the cinema was not a language system but that it was a language" (Stam, 112). In doing so, he compares the matter of expression between literary language and filmic language.
Language of Cinema
Filmic (i.e., cinematic) language is the "set of messages whose matter of expression consists of five tracks or channels." (Stam, 112). Thus, Stam argues that the language of cinema in the broadest sense of the word is the sum of messages rooted in a grouped matter of expression. These messages include the "moving photographic image, recorded phonetic sound, recorded noises, recorded musical sound, and writing." (Stam, 112). Cinema has a deferred absence of the performer which "makes film spectators more likely to believe in the image" (Stam, 122). Stam states that the reason for this is that the "imaginary nature of film" (Stam, 122). From a narrative point of view, this is what makes cinema such a powerful medium.
Application of the Language of Cinema to Novel Writing
Literary language is a "set of messages whose matter of expression is writing."(Stam, 112). Therefore, an author should incorporate descriptions of the moving images in their story as well as develop believable dialogue between the characters. However, a question arises on, "How does a writer incorporate the language of cinema's recorded musical sound?" The answer to this question is to target the emotions and feelings of the reader. Just as a person's emotions and other senses are affected by the recorded musical sound in a film, writers can integrate the language of cinema into their fiction novel by stirring the emotions and inciting an emotional response within the reader. In the same manner that movies use soundtracks to goad the film viewing audience into feeling a certain emotion during dramatic scenes, authors can achieve the same affect upon their readers. Music is very capable of stirring up the emotions in people. The written words in a fiction novel can incite the same type of reaction in readers. Music as well as the written narrative in a novel can propel people into an emotional state of sadness, solemnness, cheerfulness, or even optimism.
An Example of the Power of Music
For an example on how music can stir a person's emotions, click on the soundtrack link below to stream a recorded musical song from YouTube. The song is entitled "Black Blade". It was composed by Mr. Thomas Bergersen and appears in his album "Invincible." When you listen to Mr. Bergersen's song, the musical soundtrack is cinematic, powerful, orchestral, aggressive, dramatic, driving, determined, dark, and percussive. As you listen to the recorded music, the song will rouse emotions of fear, terror, apprehension, trepidation, uneasiness, as well as anger, rage, fury, frenzy, and wrath within you. After listening to this song, you will appreciate the great power that music has on a listener's emotions.
The above video "Black Blade (Invincible)" was uploaded by Two Steps from Hell to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Application of the Cinematic Language of Music to Novel Writing
I replicated the cinematic language of music in my epic medieval fantasy, The Wolves of Trisidian. I did this by stirring the emotions of fear and anger in a dramatic scene where the evil Army of Trisidian was launching a surprise attack upon the unwalled City of Granador. As you read the narrative below, the words are the personal words of the protagonist in the story, Sir Geoffrey Talbot, at the time a Squire from Castle Stonehaven. As Squire Talbot describes first-hand what he sees on the Plain of Granador, my goal was to incite the emotions of the readers by causing them to be stirred into fear and rage as if they were observing the action scene first-hand in person. My hope is that your emotions will be roused, as well, so that you can appreciate the great power that music and the written word have upon the feelings of people.
The Army of Trisidian was moving in mass upon the open plain. The invading force was like a large migration of wasps carrying their stingers of death to the unsuspecting souls living in the unwalled City of Granador. The impious militia continued to advance forward in a highly coordinated manner. The sight of such disciplined, organized behavior emerging from the wilderness of the north chilled me to the bone. Each step the ill-famed Army of Trisidian made towards the north entry point of the City of Granador revealed their merciless determination to take control of the city and everyone in it. The dark, swarming intelligence of the Dark Riders and their Black Wolves was like a bitter blanket of evil strewn over the entire Land of Granador. Their presence was chilling. My blood ran cold.
The Army of Trisidian like a witch’s cauldron seethed forward at four-beat gait gallop speed. The Riders with their Black Wolves were as locusts gathering to a stream before a fire. The thundering sound of the onrushing army blanketed the plain. The rumbling tremor of the stampeding Army of Trisidian was so great that I could actually sense the vibrations sweeping across the hard soil of the flat grassland. Bloodthirsty cries of Black Wolves broke through the air. Their angry, low-pitched growls, snarls, and roars echoed off the walls of the mountains surrounding the City of Granador. Like blasts of trumpets blown in wars, the raging voices and intonations of Trisidian’s Dark Riders saturated our ears. The legs of the stallions and wolves stretched forward in rapid, repetitive motion. Dust flew into the air as the feet of the stampeding stallions and wolves pounded the clay-baked, earthen plain.
REFERENCE
Stam, Robert. (2004). Film Theory: An Introduction. Blackwell Publishing: Oxford.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
In his book, "Film Theory: An Introduction," Robert Stam describes his perspective of narrative film. Quoting film theorist Christian Metz, Stam states "that the cinema was not a language system but that it was a language" (Stam, 112). In doing so, he compares the matter of expression between literary language and filmic language.
Language of Cinema
Filmic (i.e., cinematic) language is the "set of messages whose matter of expression consists of five tracks or channels." (Stam, 112). Thus, Stam argues that the language of cinema in the broadest sense of the word is the sum of messages rooted in a grouped matter of expression. These messages include the "moving photographic image, recorded phonetic sound, recorded noises, recorded musical sound, and writing." (Stam, 112). Cinema has a deferred absence of the performer which "makes film spectators more likely to believe in the image" (Stam, 122). Stam states that the reason for this is that the "imaginary nature of film" (Stam, 122). From a narrative point of view, this is what makes cinema such a powerful medium.
Application of the Language of Cinema to Novel Writing
Literary language is a "set of messages whose matter of expression is writing."(Stam, 112). Therefore, an author should incorporate descriptions of the moving images in their story as well as develop believable dialogue between the characters. However, a question arises on, "How does a writer incorporate the language of cinema's recorded musical sound?" The answer to this question is to target the emotions and feelings of the reader. Just as a person's emotions and other senses are affected by the recorded musical sound in a film, writers can integrate the language of cinema into their fiction novel by stirring the emotions and inciting an emotional response within the reader. In the same manner that movies use soundtracks to goad the film viewing audience into feeling a certain emotion during dramatic scenes, authors can achieve the same affect upon their readers. Music is very capable of stirring up the emotions in people. The written words in a fiction novel can incite the same type of reaction in readers. Music as well as the written narrative in a novel can propel people into an emotional state of sadness, solemnness, cheerfulness, or even optimism.
An Example of the Power of Music
For an example on how music can stir a person's emotions, click on the soundtrack link below to stream a recorded musical song from YouTube. The song is entitled "Black Blade". It was composed by Mr. Thomas Bergersen and appears in his album "Invincible." When you listen to Mr. Bergersen's song, the musical soundtrack is cinematic, powerful, orchestral, aggressive, dramatic, driving, determined, dark, and percussive. As you listen to the recorded music, the song will rouse emotions of fear, terror, apprehension, trepidation, uneasiness, as well as anger, rage, fury, frenzy, and wrath within you. After listening to this song, you will appreciate the great power that music has on a listener's emotions.
The above video "Black Blade (Invincible)" was uploaded by Two Steps from Hell to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Application of the Cinematic Language of Music to Novel Writing
I replicated the cinematic language of music in my epic medieval fantasy, The Wolves of Trisidian. I did this by stirring the emotions of fear and anger in a dramatic scene where the evil Army of Trisidian was launching a surprise attack upon the unwalled City of Granador. As you read the narrative below, the words are the personal words of the protagonist in the story, Sir Geoffrey Talbot, at the time a Squire from Castle Stonehaven. As Squire Talbot describes first-hand what he sees on the Plain of Granador, my goal was to incite the emotions of the readers by causing them to be stirred into fear and rage as if they were observing the action scene first-hand in person. My hope is that your emotions will be roused, as well, so that you can appreciate the great power that music and the written word have upon the feelings of people.
The Army of Trisidian was moving in mass upon the open plain. The invading force was like a large migration of wasps carrying their stingers of death to the unsuspecting souls living in the unwalled City of Granador. The impious militia continued to advance forward in a highly coordinated manner. The sight of such disciplined, organized behavior emerging from the wilderness of the north chilled me to the bone. Each step the ill-famed Army of Trisidian made towards the north entry point of the City of Granador revealed their merciless determination to take control of the city and everyone in it. The dark, swarming intelligence of the Dark Riders and their Black Wolves was like a bitter blanket of evil strewn over the entire Land of Granador. Their presence was chilling. My blood ran cold.
The Army of Trisidian like a witch’s cauldron seethed forward at four-beat gait gallop speed. The Riders with their Black Wolves were as locusts gathering to a stream before a fire. The thundering sound of the onrushing army blanketed the plain. The rumbling tremor of the stampeding Army of Trisidian was so great that I could actually sense the vibrations sweeping across the hard soil of the flat grassland. Bloodthirsty cries of Black Wolves broke through the air. Their angry, low-pitched growls, snarls, and roars echoed off the walls of the mountains surrounding the City of Granador. Like blasts of trumpets blown in wars, the raging voices and intonations of Trisidian’s Dark Riders saturated our ears. The legs of the stallions and wolves stretched forward in rapid, repetitive motion. Dust flew into the air as the feet of the stampeding stallions and wolves pounded the clay-baked, earthen plain.
REFERENCE
Stam, Robert. (2004). Film Theory: An Introduction. Blackwell Publishing: Oxford.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
August 1, 2016
Steven Spielberg's Integration of Emotional Forces in Film
Emotional Forces in Film
In this blog post, I will briefly discuss how the famous film director, Steven Spielberg, integrates emotional forces into his filmmaking. Then, I will provide two examples of how I applied this principle of filmmaking through the integration of several emotional forces in the writing of my epic medieval fantasy novel, The Wolves of Trisidian.
Use of Emotional Forces in Filmmaking
After reviewing Spielberg's first theatrical film Sugarland Express in 1974, film critic Pauline Kael wrote, Spielberg "has a sense of composition and movement that almost any director might envy" (Hirsch, 2002). In this film, there were several fearsome, daunting scenes with high levels of fierceness and fervency. For example, there were automobile chases involving yelling, casting items into the air, shooting weapons, and even blood coming out a person's shirt after getting shot. The movie had several other gun and sniper shootings as well as a person being taken captive, thus adding to the emotions of fear, rage, and suffering.
Significant to his success as a leader in the Hollywood film industry, Spielberg has the unique ability to capitalize on the integration of emotional forces associated with a variety of Hollywood film genres. For example, his artistic ability as a director in the motion picture Jaws was a clear statement of his ability to combine the adventure, horror, drama, and thriller genres into a single movie. Moreover, his style of directing entails many "extremes of terror and wonder" (Hirsch, 2002). His efforts in Jaws were so successful that he is credited with being the key to ushering "in the modern age of movie blockbusters" (Solar Navigator, 2003).
Use of Emotional Forces in Novel Writing
I incorporated emotional forces in the writing of my epic medieval fantasy novel, The Wolves of Trisidian, in several different scenes. One example is where I used emotions of peace and fear together in the same scene. The incident focuses on one of the main female characters in the story, Cortay, as follows:
The lovely maiden is in the Secret Garden hideaway with her beloved Geoffrey Talbot. After Cortay finishes picking some flowers from inside the garden, she walks through an archway. She stands quietly looking over the valley from her vista point at the top of the hill. The sun begins to finalize its descent over the Land of Stonehaven. Cortay takes in a deep breath. She closes her eyes. The expanse of the sky is calm and peaceful. Geoffrey is watching her take in the beauty of the moment. Cortay is blissfully happy as she views the panoramic, unclouded, serene landscape surrounding the Secret Garden. Suddenly, a large, Black Wolf appears in the bushes about 30 cubits behind Cortay. The vicious animal starts to pant quick and hard. Puffs of steamy vapor begin to form at the tip of the creature’s nostrils as the warm air from his lungs touches the cool air. The beast is getting ready to attack Cortay. Slaver begins to dribble out of the creature’s mouth. The wolf’s malicious eyes grew feral under his craggy, weathered brows.
Another example is in an emotional scene involving Geoffrey Talbot, the protagonist of the story, when he suddenly comes upon an elderly woman who is in a state of great despair. The following narrative is comprised of several excerpts from this particular scene in The Wolves of Trisidian. As you read the excerpts, you will observe how I endeavored to integrate the emotions of anxiety, empathy, grief, loneliness, and suffering together into the same scene.
After several more minutes of my trek up the hillside, I finally reached the top of the knoll. However, my stride to Sir Vezian’s grave was abruptly halted. To my astonishment, I saw the adumbration of a woman standing alone next to his burial plot. I was unable to recognize her due to a long veil that covered her face. The tips of the woman’s long hair extending outside her veil were ash in color. With her posture being slightly bent forward, I surmised she was elderly. The years of her life had vanished like a May snowdrift. I slowly approached the woman’s concealed visage. With apparent slump of age, the woman turned around slowly. In a similar manner, she raised her veil without hurry. She looked directly into my eyes. It was Lady Corliss Calduro. Her dismal facial appearance and expression immediately concerned me. Lady Corliss was crying with unspoken pain. The pupils of her eyes were like tiny bits of black stone. Her eyelids were burned dry from sleeplessness. With a tired voice, Lady Corliss said, “Geoffrey, my son’s death aileth me.” She cradled her head in her hands.
Seeing her low estate, my spirit groaned within me for I knew she loved her son very much. “Lady Corliss, I am sorry for your loss.”
Lady Corliss was overwhelmed with weariness. Reflecting on the vast gulfs of time in her empty soul, she cried, “Call me not Corliss, for I am not cheerful or goodhearted. Call me Marlow, for I am like a drained lake. The Almighty hath dealt very bitterly with me, for my son and husband are now both dead.”
A sob rose in my throat. I tried to swallow, but I could not. Her husband, Sir Akner Calduro, was a former Knight of Actalon. She suffered his loss when he died in battle 23 years ago while serving in defense of Jandor’s freedom. Now, her husband’s final resting place was next to their son’s grave among the Bones of the Dead. Now Lady Corliss was enduring the loss of her son, Vezian, the only fruit of her womb. She was forlorn. Her eyes revealed a feeling of unaided isolation. Lady Corliss’ spirit had a desolate presence that was escorted only by her dark, empty shadow.
The swell of pain in Lady Corliss’ eyes was beyond tears. Her body was trembling with sadness. She said, “Now, I have but naught. The pleasant things of my life are laid to waste.”
“I am empty of words, my lady. But, I want you to know I care.”
Tides of hopelessness continued to engulf her. Bleak with sorrow, she said with a suffocated whisper, “I am a woman of sorrowful spirit. Oh that I were as in years past.” Inner torment continued to gnaw at her insides. The quivering of her body increased more and more.
REFERENCES
Hirsch, Joshua. (2002). "Steven Spielberg." St. James Encyclopedia of Popular Culture. Retrieved on December 13, 2003, from http://www.findarticles.com/cf_0/g1epc/bio/2419201139/p1/article.jhtml
Solar Navigator Website. (2010). "Steven Spielberg." Retrieved on 4 July 2010 from http://www.solarnavigator.net/films_movies_actors/steven_spielberg.htm
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
In this blog post, I will briefly discuss how the famous film director, Steven Spielberg, integrates emotional forces into his filmmaking. Then, I will provide two examples of how I applied this principle of filmmaking through the integration of several emotional forces in the writing of my epic medieval fantasy novel, The Wolves of Trisidian.
Use of Emotional Forces in Filmmaking
After reviewing Spielberg's first theatrical film Sugarland Express in 1974, film critic Pauline Kael wrote, Spielberg "has a sense of composition and movement that almost any director might envy" (Hirsch, 2002). In this film, there were several fearsome, daunting scenes with high levels of fierceness and fervency. For example, there were automobile chases involving yelling, casting items into the air, shooting weapons, and even blood coming out a person's shirt after getting shot. The movie had several other gun and sniper shootings as well as a person being taken captive, thus adding to the emotions of fear, rage, and suffering.
Significant to his success as a leader in the Hollywood film industry, Spielberg has the unique ability to capitalize on the integration of emotional forces associated with a variety of Hollywood film genres. For example, his artistic ability as a director in the motion picture Jaws was a clear statement of his ability to combine the adventure, horror, drama, and thriller genres into a single movie. Moreover, his style of directing entails many "extremes of terror and wonder" (Hirsch, 2002). His efforts in Jaws were so successful that he is credited with being the key to ushering "in the modern age of movie blockbusters" (Solar Navigator, 2003).
Use of Emotional Forces in Novel Writing
I incorporated emotional forces in the writing of my epic medieval fantasy novel, The Wolves of Trisidian, in several different scenes. One example is where I used emotions of peace and fear together in the same scene. The incident focuses on one of the main female characters in the story, Cortay, as follows:
The lovely maiden is in the Secret Garden hideaway with her beloved Geoffrey Talbot. After Cortay finishes picking some flowers from inside the garden, she walks through an archway. She stands quietly looking over the valley from her vista point at the top of the hill. The sun begins to finalize its descent over the Land of Stonehaven. Cortay takes in a deep breath. She closes her eyes. The expanse of the sky is calm and peaceful. Geoffrey is watching her take in the beauty of the moment. Cortay is blissfully happy as she views the panoramic, unclouded, serene landscape surrounding the Secret Garden. Suddenly, a large, Black Wolf appears in the bushes about 30 cubits behind Cortay. The vicious animal starts to pant quick and hard. Puffs of steamy vapor begin to form at the tip of the creature’s nostrils as the warm air from his lungs touches the cool air. The beast is getting ready to attack Cortay. Slaver begins to dribble out of the creature’s mouth. The wolf’s malicious eyes grew feral under his craggy, weathered brows.
Another example is in an emotional scene involving Geoffrey Talbot, the protagonist of the story, when he suddenly comes upon an elderly woman who is in a state of great despair. The following narrative is comprised of several excerpts from this particular scene in The Wolves of Trisidian. As you read the excerpts, you will observe how I endeavored to integrate the emotions of anxiety, empathy, grief, loneliness, and suffering together into the same scene.
After several more minutes of my trek up the hillside, I finally reached the top of the knoll. However, my stride to Sir Vezian’s grave was abruptly halted. To my astonishment, I saw the adumbration of a woman standing alone next to his burial plot. I was unable to recognize her due to a long veil that covered her face. The tips of the woman’s long hair extending outside her veil were ash in color. With her posture being slightly bent forward, I surmised she was elderly. The years of her life had vanished like a May snowdrift. I slowly approached the woman’s concealed visage. With apparent slump of age, the woman turned around slowly. In a similar manner, she raised her veil without hurry. She looked directly into my eyes. It was Lady Corliss Calduro. Her dismal facial appearance and expression immediately concerned me. Lady Corliss was crying with unspoken pain. The pupils of her eyes were like tiny bits of black stone. Her eyelids were burned dry from sleeplessness. With a tired voice, Lady Corliss said, “Geoffrey, my son’s death aileth me.” She cradled her head in her hands.
Seeing her low estate, my spirit groaned within me for I knew she loved her son very much. “Lady Corliss, I am sorry for your loss.”
Lady Corliss was overwhelmed with weariness. Reflecting on the vast gulfs of time in her empty soul, she cried, “Call me not Corliss, for I am not cheerful or goodhearted. Call me Marlow, for I am like a drained lake. The Almighty hath dealt very bitterly with me, for my son and husband are now both dead.”
A sob rose in my throat. I tried to swallow, but I could not. Her husband, Sir Akner Calduro, was a former Knight of Actalon. She suffered his loss when he died in battle 23 years ago while serving in defense of Jandor’s freedom. Now, her husband’s final resting place was next to their son’s grave among the Bones of the Dead. Now Lady Corliss was enduring the loss of her son, Vezian, the only fruit of her womb. She was forlorn. Her eyes revealed a feeling of unaided isolation. Lady Corliss’ spirit had a desolate presence that was escorted only by her dark, empty shadow.
The swell of pain in Lady Corliss’ eyes was beyond tears. Her body was trembling with sadness. She said, “Now, I have but naught. The pleasant things of my life are laid to waste.”
“I am empty of words, my lady. But, I want you to know I care.”
Tides of hopelessness continued to engulf her. Bleak with sorrow, she said with a suffocated whisper, “I am a woman of sorrowful spirit. Oh that I were as in years past.” Inner torment continued to gnaw at her insides. The quivering of her body increased more and more.
REFERENCES
Hirsch, Joshua. (2002). "Steven Spielberg." St. James Encyclopedia of Popular Culture. Retrieved on December 13, 2003, from http://www.findarticles.com/cf_0/g1epc/bio/2419201139/p1/article.jhtml
Solar Navigator Website. (2010). "Steven Spielberg." Retrieved on 4 July 2010 from http://www.solarnavigator.net/films_movies_actors/steven_spielberg.htm
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
July 27, 2016
Use of Sound and Music by Orson Welles in the Movie "Citizen Kane"
Cinematic Tools of Orson Welles in "Citizen Kane"
As the director of the film Citizen Kane, Orson Welles integrated all of the tools of narrative cinema into the movie, including the use of light, two-dimensional space, three-dimensional field, time-motion, and sound together. This particular blog post addresses his integration of the essential elements of sound and music in this classic film. This post will also address the use of sound as it applies to novel writing. To this end, I will give an example of how the descriptive use of sound and music as a media communication rule can be applied by an author in writing a fiction novel. The example will be from an excerpt of my epic medieval fantasy novel, The Wolves of Trisidian.
Use of Sound and Music in "Citizen Kane"
Welles used sound, the fifth tool of narrative cinema, very effectively in the classic motion picture, Citizen Kane. He oftentimes would use sound to "link images... [rather than] beginning and terminating with the image" (Corrigan 85). For example, the scene where Susan is seated at the piano in her shabby rooming house suddenly dissolves to a shot of her, much better-dressed, at a finer piano in a more elegant house, while she continues to play the same piece" (Beja 101). Welles referred to these as "lightning mixes, in which the sound continues (although from a different source) while the scene cuts or dissolves to a new locale and time" (Beja 101). Another example of the lightning mix was when "Thatcher says to the child Kane, 'Merry Christmas, Charles,' [and] the boy answers, 'Merry Christmas--' and the story leaps ahead seventeen years to Thatcher saying, 'And a Happy New Year'" (Beja 101).
Welles also used music to hold the mood of the film. He specifically chose certain types of music for use in Citizen Kane that would coincide with the way in which he wanted the film to be perceived and received on behalf of the attending audience (Brady 262). An example of this was the selection of a fully orchestrated sound track for the scene where Susan Alexander Kane made her debut to the opera. In this opera scene, Welles makes the film footage fit to the music instead of the more traditional approach where the music is made to conform to the footage itself (Brady 264).
Use of Sound and Music Applied to Novel Writing
I incorporated the descriptive use of sound many times in my book, The Wolves of Trisidian. One example is in a scene of the book where the main character of the story is discussing a time where he played the viol as part of the Castle Stonehaven Chapel Consort. Describing the sound of the viol as he played with this group of instrumentalists at special festivals and events throughout the year, Geoffrey said, "I played the viol as a member of the string section. I loved the deep, reverberating sounds that came forth as the bow moved across each of the strings. I always felt that the viol was the closest sounding instrument to the male human voice. For me, playing the viol allowed me to express the inner yearnings of my heart and soul. Somehow, the healing musical sounds of the viol carried a curative power for me. It revealed the tender, earnest desires of my soul. In fact, after playing my viol, I always felt cleansed. It was as if all my wrongdoings were now forgotten." Geoffrey's description of the sound made by the viol adds an aesthetic quality and message in the scene being portrayed to the reader.
Another example of the use of sound in The Wolves of Trisidian occurs when Geoffrey Talbot describes a jousting event where over 7,000 citizens of Jandor in the Frihet Arena. As their favored knights enter the contest area, the audience watches every movement the knights make. Every shift, every nod, and every move of their bodies speak of defiance and their thirst for victory. The audience stands to their feet as the two riders take position prior to engaging in their face-to-face challenge. The riders’ accusing eyes meet each other without flinching. The intonation of the crowd simmers as the Field Marshal referee takes his designated position on the contest field. The crowd awaits half in anticipation, half in dread. The Marshal quickly lowers the green flag giving clear notice to the horsemen that the joust has started. The knights raise their lances. As they begin to race towards each other on their hearty steeds, I incorporated descriptive use of sound into Geoffrey's narrative dialogue of the jousting scene to the reading audience, as follows:
"The sound of the crowd fades to a hushed stillness as it stands in mute silence awaiting the explosive encounter between the two knights. The amphitheater grows tight with tension as the two horsemen are now riding at hurtling speed on an unforgivable collision course with each other. The sound of the horses’ hooves whip up the soil with each rumbling stride they make on the dusty ground. The mind of the crowd blends together with a mixture of nervousness and excitement. The face of the Reaper smiles upon the two combatants as they continue in their race towards each other at increasing speed. Suddenly, a powerful, violent impact occurs between the two horsemen. Their lances break into a horde of fragments with a loud, shattering sound. The bone-crushing thunderclap of the exploding force on the bodies of the competing knights is at a height never witnessed ever before. The deafening cry of the astonished crowd ascends into the air like a wild, raging tempest. As I witnessed these jousting contests between two opposing knights, I often wondered what it would be like to win such an Olympian event." In this scene, I specifically chose certain types of sound effects traditionally heard in a jousting event that would coincide with the way in which I desired the scene to be perceived and received on behalf of the reading audience.
REFERENCES
Beja, Morris, ed. Perspectives on Orson Welles. New York: G. K. Hall & Co., 1995.
Brady, Frank. Citizen Welles – A Biography of Orson Welles. New York: Charles Scribner’s Sons, 1989.
Corrigan, Timothy. A Short Guide to Writing About Film, Fourth Edition. New York: Longman Publishers, 2001.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
As the director of the film Citizen Kane, Orson Welles integrated all of the tools of narrative cinema into the movie, including the use of light, two-dimensional space, three-dimensional field, time-motion, and sound together. This particular blog post addresses his integration of the essential elements of sound and music in this classic film. This post will also address the use of sound as it applies to novel writing. To this end, I will give an example of how the descriptive use of sound and music as a media communication rule can be applied by an author in writing a fiction novel. The example will be from an excerpt of my epic medieval fantasy novel, The Wolves of Trisidian.
Use of Sound and Music in "Citizen Kane"
Welles used sound, the fifth tool of narrative cinema, very effectively in the classic motion picture, Citizen Kane. He oftentimes would use sound to "link images... [rather than] beginning and terminating with the image" (Corrigan 85). For example, the scene where Susan is seated at the piano in her shabby rooming house suddenly dissolves to a shot of her, much better-dressed, at a finer piano in a more elegant house, while she continues to play the same piece" (Beja 101). Welles referred to these as "lightning mixes, in which the sound continues (although from a different source) while the scene cuts or dissolves to a new locale and time" (Beja 101). Another example of the lightning mix was when "Thatcher says to the child Kane, 'Merry Christmas, Charles,' [and] the boy answers, 'Merry Christmas--' and the story leaps ahead seventeen years to Thatcher saying, 'And a Happy New Year'" (Beja 101).
Welles also used music to hold the mood of the film. He specifically chose certain types of music for use in Citizen Kane that would coincide with the way in which he wanted the film to be perceived and received on behalf of the attending audience (Brady 262). An example of this was the selection of a fully orchestrated sound track for the scene where Susan Alexander Kane made her debut to the opera. In this opera scene, Welles makes the film footage fit to the music instead of the more traditional approach where the music is made to conform to the footage itself (Brady 264).
Use of Sound and Music Applied to Novel Writing
I incorporated the descriptive use of sound many times in my book, The Wolves of Trisidian. One example is in a scene of the book where the main character of the story is discussing a time where he played the viol as part of the Castle Stonehaven Chapel Consort. Describing the sound of the viol as he played with this group of instrumentalists at special festivals and events throughout the year, Geoffrey said, "I played the viol as a member of the string section. I loved the deep, reverberating sounds that came forth as the bow moved across each of the strings. I always felt that the viol was the closest sounding instrument to the male human voice. For me, playing the viol allowed me to express the inner yearnings of my heart and soul. Somehow, the healing musical sounds of the viol carried a curative power for me. It revealed the tender, earnest desires of my soul. In fact, after playing my viol, I always felt cleansed. It was as if all my wrongdoings were now forgotten." Geoffrey's description of the sound made by the viol adds an aesthetic quality and message in the scene being portrayed to the reader.
Another example of the use of sound in The Wolves of Trisidian occurs when Geoffrey Talbot describes a jousting event where over 7,000 citizens of Jandor in the Frihet Arena. As their favored knights enter the contest area, the audience watches every movement the knights make. Every shift, every nod, and every move of their bodies speak of defiance and their thirst for victory. The audience stands to their feet as the two riders take position prior to engaging in their face-to-face challenge. The riders’ accusing eyes meet each other without flinching. The intonation of the crowd simmers as the Field Marshal referee takes his designated position on the contest field. The crowd awaits half in anticipation, half in dread. The Marshal quickly lowers the green flag giving clear notice to the horsemen that the joust has started. The knights raise their lances. As they begin to race towards each other on their hearty steeds, I incorporated descriptive use of sound into Geoffrey's narrative dialogue of the jousting scene to the reading audience, as follows:
"The sound of the crowd fades to a hushed stillness as it stands in mute silence awaiting the explosive encounter between the two knights. The amphitheater grows tight with tension as the two horsemen are now riding at hurtling speed on an unforgivable collision course with each other. The sound of the horses’ hooves whip up the soil with each rumbling stride they make on the dusty ground. The mind of the crowd blends together with a mixture of nervousness and excitement. The face of the Reaper smiles upon the two combatants as they continue in their race towards each other at increasing speed. Suddenly, a powerful, violent impact occurs between the two horsemen. Their lances break into a horde of fragments with a loud, shattering sound. The bone-crushing thunderclap of the exploding force on the bodies of the competing knights is at a height never witnessed ever before. The deafening cry of the astonished crowd ascends into the air like a wild, raging tempest. As I witnessed these jousting contests between two opposing knights, I often wondered what it would be like to win such an Olympian event." In this scene, I specifically chose certain types of sound effects traditionally heard in a jousting event that would coincide with the way in which I desired the scene to be perceived and received on behalf of the reading audience.
REFERENCES
Beja, Morris, ed. Perspectives on Orson Welles. New York: G. K. Hall & Co., 1995.
Brady, Frank. Citizen Welles – A Biography of Orson Welles. New York: Charles Scribner’s Sons, 1989.
Corrigan, Timothy. A Short Guide to Writing About Film, Fourth Edition. New York: Longman Publishers, 2001.
Note: For a more detailed discussion of the principles of filmmaking and how they apply to famous film directors, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
July 24, 2016
The Media Equation: Source Credibility
Application of the Media Equation Theory to Filmmaking
It is important for film directors to understand the benefits that are available to them by applying the rules of the Media Equation Theory [i.e., “MEDIA = REAL LIFE” (Griffin 403)] that have been popularized by Byron Reeves and Clifford Nass. These fundamental communication rules are “interpersonal distance, similarity and attraction, and source credibility” (Griffin 407). This blog post will address the principle of 'source credibility' as it applies to filmmaking. I will also give a example of how this media communication rule can be applied by an author in writing a fiction novel. The example will be from an excerpt of my epic medieval fantasy novel, The Wolves of Trisidian.
The Principle of Source Credibility
Source credibility is interpersonal communication that "is affected by the roles and reputations we bring to a relationship" (McClish 297). Nass and Reeves propose that "the credibility of a message source has a strong effect on how listeners respond to the message" (Griffin 410). This principle has a significant impact on electronic media, especially in the television and film industry. Todd Gitlin in his book entitled "Inside Prime Time" states that an "important factor in the selling of TV movies is the star, who by himself or herself may be the magnet drawing that audience in" (Gitlin 160). The credibility of a movie star has a major influence on how the attending audience will view the film.
In a study conducted by Nass and Reeves, they discovered that people who viewed a news tape on a television set that had the title of specialist on it actually "rated the reporters' stories as more interesting, important, informative, and disturbing than did viewers who saw the same tape on a generalist set" (Griffin 410). This is simply because of the source credibility principle where a source of information that has been labeled as a "specialist will be perceived as superior" (Griffin 410) to another one that just "carries a generalist label" (Griffin 410). This principle applies to the credibility of a director of motion picture films, as well.
Source Credibility Applied to Filmmaking
If a film director is very well known throughout the motion picture industry and already has an established credibility in the eyes of the viewing audience, there is a great probability that the film will be a great success. Examples of this apply to well known directors such as Steven Spielberg. His past successes with great films such as Bridge of Spies, War of the Worlds, Jaws, Indiana Jones, E.T. the Extra-Terrestrial, War Horse, Amistad, Schindler's List, and Saving Private Ryan almost guarantee the majority of the movie going audience will receive his films in a positive fashion simply because he is a popular, well-known credible film director throughout the Hollywood industry. No matter how much a person wants to logically deny that such a principle does in fact exist, "people are influenced by labels, and the influence goes beyond their ability to analyze their own responses" (Griffin 411). This is why people purchase well-known brand non-prescription drugs versus the generic variety, even though the ingredients are exactly the same. It is because the brand name medications already have been accepted by the buyer as a credible source while the generic brand has not. The source credibility principle still applies here as well as in the motion picture industry. Moreover, I believe that the source credibility principle applies to the book publishing industry, as well.
Source Credibility Applied to Novel Writing
When I began writing my book on The Wolves of Trisidian, one of my goals was for the novel to be viewed by readers as a superior quality product, not just as another ordinary, moderate, or barely adequate piece of story writing. Intertwined with this goal was my belief that established filmmaking concepts and theories could be applied by an author to the writing of a fiction novel. Therefore, I spent a lot of time researching, studying, and learning about the film directing techniques of great film directors so that I could integrate these specialized procedures and methods into my book writing strategy.
As I stepped out in my writing venture, I believed that studying a director close-up would encourage and motivate me as an author. Having knowledge of the techniques of great film directors provided role models for me to follow in writing my epic medieval fantasy novel about The Wolves of Trisidian. In learning about famous film directors, I analyzed their personalities, their vision of cinema and directing style as well as their creative artistic elements in making a film. After doing this research, I compiled the results of my extensive study into a single source of reference for other self-publishing authors who may also be interested in learning how to integrate filmmaking concepts into the writing of their own novel. With this goal in mind, I wrote and published the book entitled, "Techniques of the Film Masters" (ISBN 978-1435743472).
The introductory chapter of Techniques of the Film Masters focuses on the Media Equation Theory popularized by Byron Reeves and Clifford Nass as a valid model and concept of communication. Represented by the expression that Media = Real Life, I describe how the Media Equation can be applied to the communication medium of motion picture film; and, in particular, the craft of directing a film. In the remaining chapters of the book, I explore the directing style of the following masters of film: Orson Welles, M. Night Shyamalan, Martin Scorsese, and Steven Spielberg. After presenting a short biography of each film director, I describe their independent directing styles. Each of the major techniques they utilize as a form of artistic presentation in their role as a motion picture director is examined through several of their landmark films. In Chapter 2, I discuss Orson Welles and his movie Citizen Kane (1941) and the various tools of narrative cinema that he implemented in this great Hollywood classic. Chapter 3 is dedicated to analyzing the directorial style of M. Night Shyamalan in his motion pictures Signs (2002), Unbreakable (2000), and The Sixth Sense (1999). In Chapter 4, I examine the artistic style and cinematic techniques of Martin Scorsese in his films Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Gangs of New York (2002). Chapter 5 is devoted to the Hollywood film industry leader, Steven Spielberg. This final chapter of the book explores a multitude of Steven Spielberg's films from an analytical perspective and reveals foundations of his human compassion and artistic cinematic techniques.
As I wrote my novel on The Wolves of Trisidian, I endeavored to apply the same media communication techniques carried out by famous film directors who already have established source credibility throughout the motion picture industry today. I believed that applying proven filmmaking techniques as demonstrated by great motion picture directors would significantly help improve the narrative quality and content of my book. Hence, I am trusting the valuable information and communication principles contained in "Techniques of the Film Masters" will help me and other self-published authors all across the world to reach higher levels of achievement in our craft and push the content of our stories beyond the moderate or barely adequate to the extraordinary level.
REFERENCES
Gitlin, Todd. Inside Prime Time. Los Angeles: University of California Press, 2000.
Griffin, E.M. Communication – A First Look at Communication Theory (Fifth Edition). Boston: McGraw Hill, 2003.
McClish, Glen and Jacqueline Bacon. A First Look at Communication Theory (5th Edition Instructor's Manual, Chapter 29, The Media Equation of Byron Reeves and Clifford Nass). Boston: McGraw-Hill, 2003.
Note: For a more detailed discussion of the Media Equation Theory and how it applies to a film director, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
It is important for film directors to understand the benefits that are available to them by applying the rules of the Media Equation Theory [i.e., “MEDIA = REAL LIFE” (Griffin 403)] that have been popularized by Byron Reeves and Clifford Nass. These fundamental communication rules are “interpersonal distance, similarity and attraction, and source credibility” (Griffin 407). This blog post will address the principle of 'source credibility' as it applies to filmmaking. I will also give a example of how this media communication rule can be applied by an author in writing a fiction novel. The example will be from an excerpt of my epic medieval fantasy novel, The Wolves of Trisidian.
The Principle of Source Credibility
Source credibility is interpersonal communication that "is affected by the roles and reputations we bring to a relationship" (McClish 297). Nass and Reeves propose that "the credibility of a message source has a strong effect on how listeners respond to the message" (Griffin 410). This principle has a significant impact on electronic media, especially in the television and film industry. Todd Gitlin in his book entitled "Inside Prime Time" states that an "important factor in the selling of TV movies is the star, who by himself or herself may be the magnet drawing that audience in" (Gitlin 160). The credibility of a movie star has a major influence on how the attending audience will view the film.
In a study conducted by Nass and Reeves, they discovered that people who viewed a news tape on a television set that had the title of specialist on it actually "rated the reporters' stories as more interesting, important, informative, and disturbing than did viewers who saw the same tape on a generalist set" (Griffin 410). This is simply because of the source credibility principle where a source of information that has been labeled as a "specialist will be perceived as superior" (Griffin 410) to another one that just "carries a generalist label" (Griffin 410). This principle applies to the credibility of a director of motion picture films, as well.
Source Credibility Applied to Filmmaking
If a film director is very well known throughout the motion picture industry and already has an established credibility in the eyes of the viewing audience, there is a great probability that the film will be a great success. Examples of this apply to well known directors such as Steven Spielberg. His past successes with great films such as Bridge of Spies, War of the Worlds, Jaws, Indiana Jones, E.T. the Extra-Terrestrial, War Horse, Amistad, Schindler's List, and Saving Private Ryan almost guarantee the majority of the movie going audience will receive his films in a positive fashion simply because he is a popular, well-known credible film director throughout the Hollywood industry. No matter how much a person wants to logically deny that such a principle does in fact exist, "people are influenced by labels, and the influence goes beyond their ability to analyze their own responses" (Griffin 411). This is why people purchase well-known brand non-prescription drugs versus the generic variety, even though the ingredients are exactly the same. It is because the brand name medications already have been accepted by the buyer as a credible source while the generic brand has not. The source credibility principle still applies here as well as in the motion picture industry. Moreover, I believe that the source credibility principle applies to the book publishing industry, as well.
Source Credibility Applied to Novel Writing
When I began writing my book on The Wolves of Trisidian, one of my goals was for the novel to be viewed by readers as a superior quality product, not just as another ordinary, moderate, or barely adequate piece of story writing. Intertwined with this goal was my belief that established filmmaking concepts and theories could be applied by an author to the writing of a fiction novel. Therefore, I spent a lot of time researching, studying, and learning about the film directing techniques of great film directors so that I could integrate these specialized procedures and methods into my book writing strategy.
As I stepped out in my writing venture, I believed that studying a director close-up would encourage and motivate me as an author. Having knowledge of the techniques of great film directors provided role models for me to follow in writing my epic medieval fantasy novel about The Wolves of Trisidian. In learning about famous film directors, I analyzed their personalities, their vision of cinema and directing style as well as their creative artistic elements in making a film. After doing this research, I compiled the results of my extensive study into a single source of reference for other self-publishing authors who may also be interested in learning how to integrate filmmaking concepts into the writing of their own novel. With this goal in mind, I wrote and published the book entitled, "Techniques of the Film Masters" (ISBN 978-1435743472).
The introductory chapter of Techniques of the Film Masters focuses on the Media Equation Theory popularized by Byron Reeves and Clifford Nass as a valid model and concept of communication. Represented by the expression that Media = Real Life, I describe how the Media Equation can be applied to the communication medium of motion picture film; and, in particular, the craft of directing a film. In the remaining chapters of the book, I explore the directing style of the following masters of film: Orson Welles, M. Night Shyamalan, Martin Scorsese, and Steven Spielberg. After presenting a short biography of each film director, I describe their independent directing styles. Each of the major techniques they utilize as a form of artistic presentation in their role as a motion picture director is examined through several of their landmark films. In Chapter 2, I discuss Orson Welles and his movie Citizen Kane (1941) and the various tools of narrative cinema that he implemented in this great Hollywood classic. Chapter 3 is dedicated to analyzing the directorial style of M. Night Shyamalan in his motion pictures Signs (2002), Unbreakable (2000), and The Sixth Sense (1999). In Chapter 4, I examine the artistic style and cinematic techniques of Martin Scorsese in his films Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Gangs of New York (2002). Chapter 5 is devoted to the Hollywood film industry leader, Steven Spielberg. This final chapter of the book explores a multitude of Steven Spielberg's films from an analytical perspective and reveals foundations of his human compassion and artistic cinematic techniques.
As I wrote my novel on The Wolves of Trisidian, I endeavored to apply the same media communication techniques carried out by famous film directors who already have established source credibility throughout the motion picture industry today. I believed that applying proven filmmaking techniques as demonstrated by great motion picture directors would significantly help improve the narrative quality and content of my book. Hence, I am trusting the valuable information and communication principles contained in "Techniques of the Film Masters" will help me and other self-published authors all across the world to reach higher levels of achievement in our craft and push the content of our stories beyond the moderate or barely adequate to the extraordinary level.
REFERENCES
Gitlin, Todd. Inside Prime Time. Los Angeles: University of California Press, 2000.
Griffin, E.M. Communication – A First Look at Communication Theory (Fifth Edition). Boston: McGraw Hill, 2003.
McClish, Glen and Jacqueline Bacon. A First Look at Communication Theory (5th Edition Instructor's Manual, Chapter 29, The Media Equation of Byron Reeves and Clifford Nass). Boston: McGraw-Hill, 2003.
Note: For a more detailed discussion of the Media Equation Theory and how it applies to a film director, read Techniques of the Film Masters (ISBN 978-1435743472). The book is available in paperback print as well as digital download in Amazon Kindle, Barnes & Noble Nook, and Apple iBook formats.
