{"product_id":"art-history-for-filmmakers-9781501362309","title":"Art History for Filmmakers","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGillian McIver\u003c\/b\u003e studied History at the Universities of British Columbia and Toronto, and studied Film at the University of Westminster.She has curated exhibitions and ran an East London gallery. Her artist films have been screened widely, and she works as a producer and director. She has been a Visiting Lecturer at many institutions, and has taught at Roehampton University and SAE Institute London.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eExcellent integration of art and film. Particularly useful in regard to cinematography and mise en scene. Ideas are well-expressed and illustrated. This text will cause filmmakers to look anew at painting. * Dr Ashley Gaskin, Institute of Technology Tralee, Ireland *\u003cbr\u003eThis is an outstanding book for filmmakers, opening up art history and providing a visual vocabulary beyond the technically cinematic that is sure to enhance student and professional work. In taking a broad survey of art movements and linking to examples of contemporary and classic cinema, this is an approachable, essential text for film production students as well as writers and directors seeking to augment their visual knowledge. * Chris Buxton, University of Wales Trinity St David, UK *\u003cbr\u003eThis is a nicely presented and engaging text which relates film to fine art practice in a novel and interesting way. It will be useful for students extending their practice in film making and should inspire them to consider the origins and impact of decisions in composition and lighting. * Tracy Piper-Wright, University of Chester, UK *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIntroduction\u003c\/b\u003e What is art history and how does it relate to cinema history?; How is art history useful for filmmakers?; Painting as a record of what the past looked like in the imagination of artists; Painting and the use of visual language; A brief linear (traditional) history of art; Towards an “alternative” history of art \u003cb\u003e\u003ci\u003eChapter 1: Visual Culture and Storytelling\u003c\/i\u003e\u003c\/b\u003e Narrative and storytelling in art; Narrative in painting and cinema; Case study: William Hogarth's \u003ci\u003eThe Rake's Progress,\u003c\/i\u003eand Darren Aronofsky's\u003ci\u003e Requiem for a Dream; \u003c\/i\u003eExercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 2: Creating the Visual – Perspective, Colour and Lighting\u003c\/i\u003e\u003c\/b\u003e A brief history of perspective; Colour theory and colour psychology; How to use light; Case Study: Rembrandt, and Peter Greenaway's \u003ci\u003eThe Cook, the Thief, His Wife and Her Lover \u003c\/i\u003eand \u003ci\u003eNightwatching;\u003c\/i\u003e Exercise; Discussion questions    \u003cb\u003e\u003ci\u003eChapter 3: Realism in Visual Art\u003c\/i\u003e\u003c\/b\u003e Realism; What is representation?; Art after photography: Modern conceptions of realism in art; Case study: Johannes Vermeer, and Peter Webber's \u003ci\u003eThe Girl with the Pearl Earring (\u003c\/i\u003eDoP Eduardo Serra); Exercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 4: Beyond Realism\u003c\/i\u003e\u003c\/b\u003e Fantasy worlds in cinema and art; Oneiric: The world of dreams; Surrealism; Going beyond the real; Case study: Jack Cardiff (DoP) and \u003ci\u003eA Matter of Life and Death\u003c\/i\u003e (dir. Michael Powell and Emeric Pressburger); Exercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 5: Sex and Violence\u003c\/i\u003e\u003c\/b\u003e Sex; Violence; Case study: Caravaggio, and Martin Scorsese's \u003ci\u003eTaxi Driver\u003c\/i\u003e ; Exercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 6: Horror \u003c\/i\u003e\u003c\/b\u003e From dream to nightmare; Monsters; Case study: Francisco Goya, and Guillermo del Toro's \u003ci\u003ePan's Labyrinth \u003c\/i\u003eand \u003ci\u003ePacific Rim; \u003c\/i\u003eExercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 7: Landscape\u003c\/i\u003e\u003c\/b\u003e What is landscape painting?; The Western; Case study: Albert Beirstadt, Andrew Wyeth, and Ed Harris's \u003ci\u003eAppaloosa. \u003c\/i\u003eExercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 8: History and Heroism\u003c\/i\u003e\u003c\/b\u003e History painting: Victory, virtue, and the hero; Case study: Quentin Tarantino's \u003ci\u003eDiango Unchained \u003c\/i\u003eand Gainsborough's \u003ci\u003eBlue Boy; \u003c\/i\u003eExercise; Discussion questions  \u003cb\u003e\u003ci\u003eChapter 9: Modern Movements\u003c\/i\u003e\u003c\/b\u003e Expressionism; Minimalism; Beyond Western culture; Case study: Katsushika Hokusai and Disney; Cinema as contemporary art; Exercise; Discussion questions \u003cb\u003eC\u003ci\u003ehapter 10: Conclusion - Using art history in film-making\u003c\/i\u003e\u003c\/b\u003e Film-making roles and art; Case study: Terrence Malick, Nestor Almendros  and Andrew Wyeth (\u003ci\u003eDays of Heaven); \u003c\/i\u003eCase study: Conrad Hall, Sam Mendes and Edward Hopper (\u003ci\u003eRoad to Perdition); \u003c\/i\u003eCase study: Wally Pfister, Christopher Nolan and MC Escher (\u003ci\u003eInception)\u003c\/i\u003e","brand":"Bloomsbury Publishing Plc","offers":[{"title":"Default Title","offer_id":48867343368535,"sku":"9781501362309","price":39.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781501362309.jpg?v=1722282888","url":"https:\/\/bookcurl.com\/products\/art-history-for-filmmakers-9781501362309","provider":"Book Curl","version":"1.0","type":"link"}