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4 von 4 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen rigid, but important
After reading screenplay books for years -- the likes of Syd Field, McKee, Howard, Hunter, etc. -- Mamet is a refreshing change. I realized how the other books, for all intents and purposes, were analyses of scripts, avoiding or skirting the issues of method and process. In other words, it's not hard to look at a huge box office and critically-acclaimed hit...
Veröffentlicht am 4. April 2000 von Jonathan LeMond

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3.0 von 5 Sternen Mamet understands film, but not art
Despite his numerous interesting observations about the nature of film, Mamet seems to lack a central vision of art and all that is beautiful.
The contents of this short book are better suited for an essay. The majority of the material, which comes from a lecture or series of lectures at Columbia University, is the redundant reiteration of the importance of...
Am 7. August 1998 veröffentlicht


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4 von 4 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen rigid, but important, 4. April 2000
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
After reading screenplay books for years -- the likes of Syd Field, McKee, Howard, Hunter, etc. -- Mamet is a refreshing change. I realized how the other books, for all intents and purposes, were analyses of scripts, avoiding or skirting the issues of method and process. In other words, it's not hard to look at a huge box office and critically-acclaimed hit (Chinatown being the consensus favorite) and explain what makes it so good. We all know it's good. We've seen the movie. We've read the script. We're all in awe. And we all know the elements. But the actual process of writing, of formulating a story visually, of actually creating instead of merely analyzing, seems to be an afterthough to these folks. I mean, in some way, you've got to ask yourself why these fellas -- McKee, Field, and others -- have never actually written a thing! Mamet espouses a simplicity to the process of storytelling in film, beat by beat. It's a bit repetitive and sterile, as is the man himself. I don't agree with him on everything, and neither will you. He contradicts himself all the time and seems to take delight in his own presence, but he is a great craftsman, and anyone looking to tell stories visually would be mistaken to think this book unimportant or trivial. A must read for aspiring filmmakers, especially those who write.
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5.0 von 5 Sternen An arrow in the quiver of any fine writer., 5. April 1997
Von Ein Kunde
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
Mamet's plays have been known for exposing gender miscommunication(Oleanna, Sexual Perversity in Chicago), investigating what drives the common man (Glengarry Glen Ross, American Buffalo) and bringing to light our fears and desires (The Duck Variations, Edmond). He has a style of theatre attributed to him, identified by blue collar, swearing, seedy characters. When NYPD Blue premiered it was referred to, by some, as Mamet TV. It is easy to watch a Mamet play and forget that the playwright is a poet and he, at times, writes in iambic pentameter.

However, he isn't just a playwright. Mamet has directed movies (Things Change, We're No Angels, Oleanna, House of Games), written movies (The Postman Always Rings Twice, 1981), adapted plays (An Enemy of the People, The Cherry Orchard) and has written criticism on the art of the theatre and writing for it.

The title of On Directing Film is misleading. A better title would be, For the Director Who Writes. Mamet spends a great deal of time in the book, it is structured around lectures he gave at Columbia University in 1987, explaining how to trim a script to its core so the best, and most coherent story can be told through film. Often his students will mention camera angles or camera movements to complete an emerging story they are developing, but Mamet is quick to reduce the lecture to the field which he knows well. Writing. He always returns to the script and how that should be structured so an excellent story can be told. Filming the script, the easy part, is for later.

Mamet draws from Hitchcock to Hemingway to Aristotle to explain what makes a good story work and how that can be applied to writing the script. On Directing Film should be mandatory reading for all students, formal or informal, of creative writing.
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3.0 von 5 Sternen Mamet understands film, but not art, 7. August 1998
Von Ein Kunde
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
Despite his numerous interesting observations about the nature of film, Mamet seems to lack a central vision of art and all that is beautiful.
The contents of this short book are better suited for an essay. The majority of the material, which comes from a lecture or series of lectures at Columbia University, is the redundant reiteration of the importance of "uninflected images" in building a scene. Mamet rejects the desire for "interesting" shot composition and instead fosters an academic technique, logically and heavy-handedly including in his shots only what is necessary.
In spite of its weaknesses, "On Directing Film" presents the worthwhile and legitimate opinions of a playwright turned filmmaker.
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5.0 von 5 Sternen Buy this book. It's worth it., 6. Januar 2000
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
I have found this book to be of great use. I have highlighted much of the text and have been assimilating it since it came out in hardcover. Technology is evolving toward consumer movie making and this book can serve as a point of departure for anyone with a video camera and a desire to tell stories but no pressing desire to become a part of "the industry". His technique is admittedly rigid but is simple to understand. When one honestly and patiently applies the technique in order to conceive a story outline, the results--since the unconscious is employed instead of the ego--can be quite enchanting. This book aims toward a more poetic cinema. I highly recommend it.
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4.0 von 5 Sternen A Big Wow, 22. November 1999
Von Ein Kunde
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
It's not an easy read maybe because Mamet is not a teacher but a writer. But this booklet was pure gold for me. Mamet takes a stand for Eisenstein's theory of montage. He doensn't accept film as visual art because for him the story is everything. Makes you want to read the originals ("Film Form" and "Film Sense" by Eisenstein).
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5.0 von 5 Sternen Film making in a nutshell, 23. März 2013
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Rezension bezieht sich auf: On Directing Film (Taschenbuch)
A great book about making films. It's all in there. Reading the book gives enough information for a beginner on how to set it up: from beat, to cut, to scene to film. On where to put the camera. On what good actors should do and how to recognize them. However, at times it appears as if the author is so upset about filmmaking in Hollywood that there might be deeper and more personal reasons for his harsh criticism. Either way, the book is a great introduction and enabled me to discuss a scene with a professional director almost on eye level.
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5.0 von 5 Sternen A New Approach, 5. Januar 2000
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
The truth is that David Mamet directs film as no one else does. His book should not be compared with standard, film-school texts. He has a different approach, and one that I find to be more rudimentary than most. After reading, I felt that Mamet genuinely took me into the "basics" of filmmaking. He certainly marches to his own beat.
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4.0 von 5 Sternen Shows how montage is used to get the maximum effect., 23. Dezember 1998
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
A summary of the russian filmakers beutiful theory of montage. It's low point is that he fails to contradict montage with other styles of cutting due to lack of experience as a director. He basically puts up a fight for the russians on how film should mainly be visual with an understood plot.
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5.0 von 5 Sternen Do yourself a favor -- read it., 13. Juli 1999
Von Ein Kunde
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
Mamet cuts through the crap. Essential reading for anyone who deals with story. Throw away Robert McFee's enormous, incomprehensible tome -- the slim paperback Directing Film contains the truth.
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2.0 von 5 Sternen David Mamet: On Directing Film ( Clunkily ), 4. Januar 1999
Rezension bezieht sich auf: On Directing Film (Taschenbuch)
David Mamet writing a book on how to direct film is like Vanilli setting himself up as a voice coach. The truth is that great filmmakers, like all great artists, operate purely on instinct, and would never let themselves be weighed down by the cockamamied theories Mamet so zealously espouses here. "On Directing Film" is not a bad book, exactly. It's just that Mamet has no business writing it. As a director, he is an abomination, egregiously over-disciplined and painfully self-conscious. As a writer, he is more in his element, although his plays are only tolerable when they are brought to the screen by better, looser, funkier directors ( such as James Foley, whose film version of Glengarry Glen Ross is definitive. ) Mamet's own film adaptation of Oleanna is so creaky, so wooden, you can actually hear the ellipses ( dot dot dot ) in the characters' speech. This book just proves that he's being held down by a faux-Eisensteinian system of his own devising. Unless you're Mamet himself, "On Directing Film" is useless.
For those people with vicarious yearnings to sit in the director's seat, I recommend Sidney Lumet's Making Movies instead. Less pretentious, more illuminating.
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On Directing Film
On Directing Film von David Mamet (Taschenbuch - 1. Januar 1992)
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