Kundenrezensionen

11
4,3 von 5 Sternen
On Directing Film
Format: TaschenbuchÄndern
Preis:14,62 €+Kostenfreie Lieferung mit Amazon Prime
Ihre Bewertung(Löschen)Ihre Bewertung


Derzeit tritt ein Problem beim Filtern der Rezensionen auf. Bitte versuchen Sie es später noch einmal.

4 von 4 Kunden fanden die folgende Rezension hilfreich.
am 4. April 2000
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 5. April 1997
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 7. August 1998
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 24. Juni 2015
Beim Lesen dieses kurzen Buches habe ich mehr über das Filmemachen gelernt als in zig Büchern davor. Hier hat es das erste Mal wirklich "Klick" gemacht und ich habe verstanden was "Visual Storytelling" wirklich ausmacht.

In diesem Buch lernt man nichts über Kameraführung, Komposition oder ähnliches, sondern rein wie man eine Geschichte in Bildern erzählt. Das Ergebnis ist eine sehr nüchtern Erzählung, weshalb einige Rezensenten dem Autor vorwerfen, den künstlerischen Aspekt zu vernachlässigen. Damit haben sie Recht, das kommt dem Buch aber nur zu Gute, denn damit kann es sich auf das Kernthema konzentrieren. Für Bildkomposition oder Kameraführung muss man zu anderen Büchern greifen.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 6. Januar 2000
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 23. März 2013
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 22. November 1999
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).
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 5. Januar 2000
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 23. Dezember 1998
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
am 13. Juli 1999
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.
0KommentarWar diese Rezension für Sie hilfreich?JaNeinSenden von Feedback...
Vielen Dank für Ihr Feedback.
Wir konnten Ihre Stimmabgabe leider nicht speichern. Bitte versuchen Sie es später noch einmal.
Missbrauch melden
     
 
Kunden, die diesen Artikel angesehen haben, haben auch angesehen
In the Blink of an Eye: A Perspective on Film Editing
In the Blink of an Eye: A Perspective on Film Editing von Walter Murch (Taschenbuch - 1. September 2001)
EUR 13,59

Die Kunst der Filmregie
Die Kunst der Filmregie von David Mamet (Taschenbuch - 1. Juli 2009)
EUR 16,90