Review of The Secret Language of Film by Jean Claude-Carriere (1994)

Author: Jean Claude Carriere
Publication Date: 1994
ISBN: 0-679-42116--5


What does the language of Film mean? In one sense it means the nuts and bolts of how a film is made. Beats, bits, scenes, sequences, and acts are all part of a language that screenwriters use to make and understand films. In another sense the language of film is about technical details such as lighting and editing. In his book The Secret Language of Film, Jean Claude Carriere talks about the how the language of Film is used not only to create films, but also how film language evolved from theater into a language of its own. The past is ever present in the book as well. Carriere talks about how film language has changed over the years. How it has gotten more complicated and faster. How some of the old ways of understanding the language of film have become obsolete.

This review will seek to analyze the contents of Carriere’s short book about Film Language. Mr. Carriere has had a very long and very distinguished career in Film. He often returns throughout his book to his collaborations with Luis Bunuel. Their partnership resulted in many classic films of which Belle de Jour, The Discreet Charm of the Bourgeoisie, The Phantom of LIberty, and That Obscure Object of Desire are the best. Carriere has gone on to write many other films many of which have won awards and box office success. Given so much success due attention should be given to a screenwriter that has taken the time to impart valuable knowledge about film and filmmaking. It is the opinions of the author about those subjects that concern this review.

The structure of the book is free form that is at times memoir, at times film history, film theory, and at other times a screenwriting manual. The book is divided into six chapters. The last two are broad, philosophical chapters that talk about the rivalry between Europe and America for the direction of film. Carrier talks about his days as a screenwriter and the future of film. His longest and most profound chapters deal with History in Film and Time in Film. These are the main focus of Carriere’s arguments to illustrate the secret language of Cinema

Carriere says that Film has “sanitized” History. He says Film has erased the “foul smells” of History to present a History of half truths on Film. Through numerous examples Carriere makes a strong argument that Film has largely replaced History books and other forms of storytelling as the main source from which we develop a historical conscience. He cites the films of Alfred Hitchcock as portraying a time when History was different. The films of Hitchcock will someday be a representation of what life was like in the days the films were made. People will see that films of Hitchcock as reality. But was it reality? Or a film that alludes to a reality that never existed? Carriere talks about today’s Cinema fabricating truths. Sex is trivialized. Porn is ubiquitous. War is made to look easy and too one sided. He raises interesting questions about how film is affecting the way we act, the way we behave. His argument is well made and hits home particularly for any serious viewer of films that deal with War or Romance

Carriere also talks about the age of film. Clearly the greatest art form of the twentieth Century was film. Will it be that way in the twenty-first? Carriere cites the example of theater in nineteenth century France as an inevitable fate for Cinema. He says there were over eight thousand performances in the demi-monde which was French theater in the 1800’s. Now only a very small percentage of those shows are still staged. Will Cinema encounter a similar fate? Carriere raises an interesting question that seems to concern the film industry from birth. When will Cinema be old? Is it still new? How will it change? Is it because of technology? Or is it because of some other reason? An economic one perhaps? The prevailing view in places like Hollywood is that it is technology which provokes changes in Cinema. Carriere makes the case that the profit motive of Hollywood is more of a reason for Cinema to be endangered. He makes the case that is traditionally a Europena opinion that Cinema is an art form essential to the culture of individual countries. In contrast to Hollywood which views films as products, Carriere sees Cinema as the most important way humanity sees itself. The way it understands itself by seeing itself through stories told by artists.

The second big subject Carriere concerns himself with is time in the Cinema. He writes about his talks with a film editor from L.A. who is very knowledgeable about the technical aspects of film editing. Carriere builds off of these comments to analyze films in terms of time. He writes that time in film is getting shorter and shorter. In the 1940’s films took longer to do something. Now things happen very quickly. In the past things like the dissolve were a staple of filmmaking now they are hardly ever used. Carriere talks about Cinema and its relation to reality. He opposes the view that films are an escape from reality. Carriere thinks that we are imprisoned in time. Time goes by no matter what. And Cinema is imprisoned in time. A movie only lasts for two hours or more. In those two hours we lose ourselves, but we cannot escape time. Screenwriters, Carriere writes, have a difficult job in writing about time. How should they portray the passage of time? What techniques are available to screenwriters to show that time has passed? This is harder for a screenwriter, then a novelist or a playwright. Playing with time is a fun and essential exercise that screenwriters must engage with. If a film is too slow, or as is more the trend according to Carriere, too fast, audiences could be bored or confused. Carriere cites the ending of Kubrick’s 2001 as a great example of the use of time in film. In the film time is used very quickly and concisely to show time passing on the main character. Carriere says he and Bunuel would think of ways to use time in their films. Carriere talks about some of their collaborations like The Discreet Charm of the Bourgeoisie and The Phantom of Liberty which didn’t feature a strong protagonist. It is vital to watch these films to understand Carriere’s points in his book. Carriere says time can be a great asset to a screenwriter but should be approached with caution.

The shortcomings of the book are it’s deep arguments about film. I wouldn’t recommend it for a novice. This is the second time I have read the book. This time I read it actively. Some parts still eluded me or caused me to become distracted. It is definitely for a reader with a background in film history, theory, or filmmaking. I suppose you could read it at a novice stage, but I would advise getting a background in filmmaking and film studies, then read the book. I learned about the book from a reading list for Graduate level Screenwriting. Technically the book is rather dense. A lot of ideas packed into a short text. I wasn’t confused. I understood it’s arguments well. I think it’s content could overwhelm a novice reader who isn’t used to polemics about film theory or the politics of Cinema.

Screenwriters would want to read this text. It is short and dense, but very interesting. It also reveals the European way of seeing film if they have not been exposed to it. The secrets of film language are also written about with intelligence and wit. I think this book will stand as a critical text about films for many years To really understand the book it is required that you watch Carriere’s films that he cites in his book. I was turned on to his collaborations with Bunuel which include Belle de Jour, Discreet Charm, The Phantom of Liberty, and That Obscure Object of Desire. All are excellent films in the Surrealist style that Bunuel made into Cinema. It was a joy watching those films in addition to reading Carriere’s book. Carriere talks about many films throughout the book almost all of which are European. In one chapter he cites Ingmar Bergman’s Persona as a film to study. So study it I did. I’m glad I read the book and found out about some films I hadn’t seen before or some films that I watched for the third time like Belle de Jour. Or a film like The Discreet Charm of the Bourgeoisie which I viewed for the sixth time. Or That Obscure Object of Desire which is Bunuel’s swan song.

Cinema will someday fade as an art form. I agree with Carriere. Nothing lasts forever. Carriere will be remembered for all his great screenplays and for this text. It will be a document that future screenwriters and film historians will look back to for instruction and inspiration.

Review of The Screenplay by Margaret Mehring ((1990)

Author: Margaret Mehring
Publication Date: 1990
ISBN; 0-240-80007-9

Ever wonder how camera angles and editing affect the writing of a screenplay? Have you ever wanted to write a great screenplay and win awards for it’s art? Before you do that you should read Margaret Mehring’s book The Screenplay. The Screenplay was published in 1990 and was Mehring’s most famous work. Mehring was a Professor of Cinema at the USC film school for many years. She was the founder of the USC’s School of Cinematic Arts Filmic Writing program. Her book was well received and is still used in film schools throughout the United States. This review will talk about the text in depth. It will provide a summary of the textbook, an analysis of various aspects of the book, a consideration of any negatives the book may have, and finally a conclusion about who should read this book.

The book is structured like a textbook about screenwriting. The Screenplay is targeted to screenwriters and TV writers. The twelve chapters each include a topic about the major argument of the book; blending film form with film content. Each chapter discusses blending film form with film content through various techniques. There are chapters which talk about using cinematography, editing, and other techniques while writing screenplays. Mehring presents her theories and then uses four major screenplays as illustrations of how the techniques are used in writing screenplays. She relies on four major films: Out of Africa, Rebel Without a Cause, An Officer and a Gentleman, and Body and Soul.

There are many books that discuss how to write films. The Screenplay by Mehring is the first that I have encountered which talks about using film methods to write a screenplay. In other books use of technical details is said to be best left to others in film production like the director and director of photography. Mehring’s book is unique in that it’s sole purpose is to write about how screenwriters should blend film form and content together to make screenplays better. She states many times that using techniques will make screenwriters into professionals instead of amateurs. Through her use of examples and illustrations her point is well made and convincing. I can see why it was recommended to me by my Screenwriting Professor from Graduate school. After reading some of the chapters it set off alarm bells about how screenwriters should be writing their screenplays. It clearly shows that film writing is an art form different from writing fiction or theater.

Mehring’s use of film to illustrate her examples are similar to other screenwriting books who use excerpts and scenes from screenplays to make their points. Cherry Potter’s Screen Language is similar in this respect. The excerpts show how each of Mehring’s theories are presented. A great point is made by using a sequence from Out of Africa to illustrate the use of sound in films. There are several examples used from An Officer and a Gentleman. Also from Rebel Without a Cause where she discusses the editing combined with the “chickie run” scene. The examples create clear pictures of how film content is blended with film form to create films that are classics.

The book is similar to other textbooks about screenwriting. It is similar to Irwin Blacker’s The Elements of Screenwriting because both consider the mechanics of screenwriting. Both talk about the content of films; what a screenwriter must do, how a screenplay should develop. Both are in agreement that screenplays should be organic and not too mechanical. Mehring goes a bit further then Blacker by considering the form films take and how they influence the writing of screenplays. This makes Mehring’s book similar to Cherry Potter’s Screen Language in it’s discussion of great films that use specific techniques to make films. Mehring’s book is also similar to Paul Lucey’s classic textbook Story Sense. Both use four classic films to illustrate their points. Lucey’s book is more of an encyclopedia where Mehring’s book is shorter and more concise to one argument about the blending of film form and content. I think Mehring’s book is a classic text that addresses a need for screenwriters who want to improve their writing so that it is more visual and image oriented. If the techniques in the book are applied they could lead to better screenplays.

The book has few flaws. The structure is straight-forward and the content is easily readable. I would caution anyone to avoid the book if they are looking for a book that promises easy solutions to the hard problems of writing screenplays. The book is more for a film school attendee or anyone who writes screenplays be they amateur or professional. Some of its material is rather complicated and having a background in film production is an asset. Still the book makes ample use of cartoon imagery so anyone could understand the book. It’s not too long either.

I would recommend this book to anyone interested in filmmaking. The book is a fast read that shows some great examples of how to make films. Film students, filmmakers, and especially screenwriters would greatly benefit from reading this text. The hours that would be put into the text would result in a better understanding of how screenplays are written, films are made, and the creative process.

Review of Cinematic Storytelling by Jennifer Van Sijl (2005)

Patrick Charsky

11/6/2019

Cinematic Storytelling is a book about the nuts and bolts of making a film. If you ever wonder how films are shot or put together this book is an introductory text that shows how it’s done. The book was published in 2005 and has become a bestseller. Written by Jennifer Van Sijl who is an award-winning filmmaker and film Professor. The book is meant to educate filmmakers and film students in the conventions of making films. The book can be used by film professionals and film students alike.

The book’s structure is built around 100 film conventions that filmmaker’s need to know. Each convention is presented with an explanation, an example and an excerpt from the script along with shots from the film. The explanations are short and to the point. The illustrations show the important parts of the film. I found the excerpts and shots from the film to be very useful and much better than other books who present only cartoon illustrations.

The structure of the book is a major positive. I am an advanced beginner who doesn’t know a whole lot about cinematography. After this book I felt like I had upped my level of understanding with regards to filmmaking techniques. The book is not authoritative like some books about a specific text on a topic like editing, cinematography, or props, the book does introduce each topic and educates the reader to a sufficient level. It inspired me to look into other aspects of filmmaking that the book alluded to.

The books explanations are clear and succinct. I enjoyed reading each convention and found the information easily understandable from a non-specialist point of view. I’m a screenwriter and this book showed me how films are shot, edited, and made in a variety of ways. I found the explanations easy to understand with ample illustrations, excerpts, and frame grabs from great movies. The explanations were detailed, but not overwhelming. They educated and will serve as reference points for my efforts to produce films.

Some of the explanations seemed redundant. I found some conventions to be repeated when they didn’t have to be. I also found some of the explanations to be hard to understand. Aside from this the book had few flaws. It was well made, structured, and explained. A great text.

The book should appeal to filmmakers and film students alike. Filmmakers will find this book useful because it explains useful conventions to use when writing or shooting films. Film students should find the book useful in its explanations of films. And its use of great films to illustrate the points made in the book. A very useful text.

Review of Setting Up Your Shots by Jeremy Vineyard (2008)

Patrick Charsky

10/29/2019

Setting Up Your Shots by Jeremy Vineyard is an introductory text about various filmmaking techniques. The author is a filmmaker himself. Illustrations are used throughout the book to show how a filmmaking technique is presented visually. The illustrations are done by Jose Cruz who is also a filmmaker. The book is rather short. It only runs 146 pages and it’s format is more like powerpoint presentation slides than a typical text page from a book. The book I also horizontally longer than a typical book. It gives you a visual sense of how each technique would be reflected on a large rectangular screen.

The book talks about a plethora of filmmaking techniques. It shows how to use various camera shots, angles, and setups. The pan, tilt, the birds eye view are among the many that are discussed in the book. Montage is also talked about. So is the composition of a film shot using deep focus or triple or quadruple figures in a shot. Layering is also discussed. The film also talks about new or experimental techniques like biomass which is when an abundance of people crowd the screen. This is also applied to the use of animals or rain drops.

The book is short and to the point. Each topic only runs about a page long. There are many, many examples which illustrate each point. Most of what it talks about is filmmaking 101 or a basic level course. This is good for beginners or more advanced filmmaker looking for a review or to use as a reference when thinking of filmmaking ideas.

The book isn’t too advanced. The pages are short, sometimes a little too short. And most of the topics would be covered in an introduction to filmmaking class. The illustrations are adequate, nothing more. This is a bare bones approach to learning some of the basics of filmmaking.

The author has said that this book if for people who can’t afford to go to film school and are looking for a crash course in filmmaking techniques. That is just what this book is; a crash course on how to shoot or edit films. It will appeal to a beginner looking to understand some filmmaking methods or as a reference tool for someone looking for ideas about how to shoot, setup, or edit a film. Recommended to filmmakers new and experienced.

Review of The Hollywood Standard by Christopher Riley (2009)

Patrick Charsky

10/23/2019

The Hollywood Standard by Christopher Riley is an essential text about formatting a screenplay. Filled with useful information about a multitude of aspects about screenwriting it fills a void in the literature about screenwriting format and style. Christoper Riley was a proofreader for Warner Bros. script department for fourteen years. He is also a screenwriter. With his years of experience he has written an essential text about screenplay format and style.

The book is rather short. It is divided up into sections about a topic of screenplay format and style. Each chapter is organized around a concept of screenwriting. There is a major chapter about shot headings followed by other chapters concerning dialogue, direction, transitions and a few others. They go into detail about what to do in each particular situation. The book is detailed and addresses any situation a screenwriter might come across while writing a screenplay.

The book is an essential guide for screenwriters and TV writers. Every chapter has useful information about how to write for the TV and Movie industries. I read the book all the way through one time. But, I know that I will return to the book as a reference tool any time I have a question when I write a screenplay or teleplay for TV. The book is like any other reference text about how to use language, editing, and placement of words in a work of literature.

The best chapter is the one about shot headings. The text addresses when to use a shot heading, what to include in the shot heading, and what to avoid. In this chapter relevant examples are used to show the right way and the wrong way to use shot headings. It is the same throughout the book. The rule is explained, then the example of the right way to do it and the wrong way is supplied. The book is excellent in it’s presentation, use, and explanation of how to write screenplays.

The major drawback of the book is that is gets very specialized in its later chapters. The earlier chapters I felt addressed a lot of concerns of immediate concern for screenwriters. Some of the later chapters concern what to do when the screenplay is in production or when there needs to be revisions added to the screenplay or teleplay. This is a stage that writers of spec scripts probably don’t need to concern themselves with. At a later stage or in TV production I’m sure these chapters would be useful.

This book is essential for anyone trying to write a screenplay or teleplay. It is also very useful for editing scripts to make sure they are presentable to readers or other buyers of screenplays. I would recommend it to anyone who is writing a screenplay or who needs to edit a screenplay into polished form for submission to outside readers. An excellent resource for screenwriters or television writers.

Review of An Anatomy of Drama by Martin Esslin (1977)

Patrick Charsky

10/16/2019

An Anatomy of Drama by Martin Esslin is an excellent book about theories of Drama. The book is about one hundred eighteen pages long and is divided into eleven chapters. The chapters are rather short and are replete with examples from important plays of the Classical and Modern eras. Esslin is a writer and critic who has worked in radio, theater and has written books about Bertoldt Brecht, the theater of the absurd, as well as other topics.

The book delves into numerous topics ranging from definitions of theater to the effect of theater on society. His scope is wide and deep. He talks in theoretical concepts and makes them understandable by illustrating his theories with examples from plays. He also shows an exhaustive knowledge of plays and playwrights. Particularly Brecht, Beckett, Shaw, Ionesscu, and others. The main idea of the book is how Drama in contemporary times is found in so many different forms like radio, TV, Cinema, and theater as well as religious experience and political ritual. Drama has become so important to the way humanity communicates that to understand it is to understand humanity in an important way.

Esslin writes about drama in an understandable way. Many of his ideas show that drama is a mass communication device that has taken the form of advertising and many other forms. He talks about Brecht and his Marxist theories of theater. He also talks about Beckett and how these two dramatists were at odds over how to present theater. Brecht wanted to show humanity as it was. Beckett was an absurdist who wanted to fantasy as well as realism to show his ideas. They were at odds. Esslin illustrates this division well.

In line with doctrinal disputes between playwrights Esslin also talks about the greatest plays that were written in the twentieth century. He analyzes and summarizes great plays like Beckett’s Waiting For Godot. His analysis of this play is on target. Esslin also uses many Shakespeare plays to illustrate his ideas about theater. He states that people have seen Shakespeare plays many times over. Like MacBeth and Hamlet. So when audiences go see a new version they look for a famous actor’s new interpretation of the play rather than to hear the story again. This illustrates the power actors have in drama.

The most poignant part of the book is how Drama can affect society. Esslin makes clear how many plays have incited political movements in various times and geographic regions. He writes how theater was behind the thaws in Poland, Hungary, and Czechoslovakia under the Soviet Union. It was theater that incited protesters to take to the streets and demand more rights in those countries. It was theater that brought about the French Revolution according to Esslin. Without theater society would never be able to air it’s grievances against the state.

In another telling examples Esslin talks about George Bernard Shaw and his effect on Britsh society in the early twentieth century. One of his plays brought about a change in how British society accepted the word “bloody.” Before the word “bloody” was taboo. When it was used on the stage the vulgarity of the word was lost and a collective sigh of relief went up from the crowd.

It is examples like these that make the book hard to put down. When Esslin talks about how Drama can have a positive psychological effect on audiences he makes another great point. The book is replete with great examples and language. Esslin picks out many famous phrases and uses them to illustrate his theories and opinions about drama.

The book has few negatives. If anything the concepts might be too theoretical for the novice reader. It certainly could be used in Introduction to Theater courses for its immense intelligence about the effects of drama on audiences and society. The examples are also for an experienced theater major. They are also a good introduction or review of great plays and playwrights like Shakespeare, Beckett, or Brecht. I was only lost one or two times. The rest of the book made immense and profound sense. I feel compelled to read it again.

This book would be great for a Theater major in college or an aspiring playwright who wants to learn more about dramatic theories and twentieth century theater. It is informative and knowledgeable about what theater can do. The power it has over audiences, the media, and the government. I would highly recommend this book.

Review of The Elements of Screenwriting by Irwin R. Blacker (1986)

10/14/2019

Patrick Charsky

The Elements of Screenwriting by Irwin R. Blacker is an introductory text about the many aspects of Screenwriting. In a concise form the author details important subjects about screenwriting. The book is divided into two parts. The first part concerns the composition of scripts. The second part concerns more of the business parts of the screenplay and film industry.

The book was originally published in 1986 and is just over 100 pages in length.

The first part of the book talks about character, dialogue, conflict, exposition, structure, the nuts and bolts of what should be included in a successful screenplay. The book provides definitions of each term and illustrates each definition with examples from classic films and plays. The second part talks about the business parts of the screenwriting industry. Blacker writes that screenwriters are part of a team that makes films. He talks about the look of a film. He says that screenwriters should have agents to negotiate contracts.

The positive aspects of the book are many pieces of advice told in a short and concise manner. The book is dated is some respects, but much of it’s advice still holds true even after several decades since publication. For a novice or even a working professional The Elements of screenwriting is a good place to start or review all there is to know about screenwriting. It could be used as a reference tool as well.

The book is a bit dated. Some of its film references are becoming more obscure as the years pass. Some of his advice has also become dated. His talks about formatting are from the days when screenwriting software wasn't around to do it automatically. The brevity of the book is a negative too. If you want a more in depth study, something with more substance, then a longer book would probably be better.

Still the book does hit home with many of its explanations of character, exposition, conflict, and the business of screenwriting. I would recommend it to a beginner without reservation. And it would be useful to a veteran screenwriter who from time to time needs a refresher or a quick reference guide.

Review of Secrets of Action Screenwriting by William C. Martell (2000)

Patrick Charsky

5/15/2019

The action film has never been analyzed as good as in William C. Martell’s book Secrets of Action Screenwriting. Martell has been a screenwriter for many years and has many screenplays produced into films. He is known as the Robert Towne of made for cable movies. His book Secrets of Action Screenwriting is considered a classic of how to write a screenplay. Martell was born in California and works in Hollywood.

Secrets of Action Screenwriting is a nuts and bolts book about how to write an action screenplay. He talks about everything you would need to know to write an action screenplay. From rugpulls to sidekicks he goes through everything you need to know about an action screenplay. Martell is experienced in how to write action screenplays. He has at least 17 action screenplays produced.

The best aspect of the book is that it is easy to read and understand. Where some screenwriting texts are high minded and go over the heads of readers this book is down to earth and explains the little details in easy to explain examples and and ideas. The book explained ideas such as reverals and rug pulls in easy to understand language. Anyone could understand this book.

The next best aspect were the examples the book used. I was enflamed with a passion to study action films after reading this book. From Die Hard to Lethal Weapon the examples were illustrative of the ideas that Martell presented. They made the book easy to understand and and learn from. The examples used to illustrate points were well chosen.

There were few negatives to the book. The humor, examples, and ideas were all used well to present the secrets to action screenwriting. Perhaps the book could have been more theoretical, but then it would have been harder to understand and less well understood. I haven’t read a screenwriting book that was as informative and easy to read as Secrets of Action Screenwriting.

The book will appeal to working professionals like screenwriters, directors and others. It is a great text that shows how to write an action screenplay. Maybe action screenplays aren’t for everyone. For anyone with an interest in action screenplays it’s a can’t miss. It shows how to write an action screenplay in all it’s detail.

Review of The Hollywood Eye by Jon Boorstin (1990)

4/16/19

Patrick Charsky

The screech of the violin in Alfred Hitchcock’s Psycho. The intense need to know in Fatal Attraction. The gut turning scenes of a man hanging from a cliff. Ever wondered why these scenes work so well? Ever think about how a filmmaker puts it all together to make it so good? Jon Boorstin lays it all out in his book The Hollywood Eye: What Makes Movies Work. Boorstin is a writer, producer, and director of movies. He was a producer on the famous film All The President’s Men which won Oscars for it’s expose of the Watergate break in during the Nixon presidency. According to IMDB.com he has eleven credits as a Screenwriter.

The book is rather short. It clocks in at 213 pages. Despite its short length the book is a concise look at how movies are made and what makes them work. In six sections, Boorstin details the way people look at films. He defines three ways of seeing the movies. Voyeurist, vicarious, and visceral are the ways we experience films. The book is a blend of film criticism, technique, anecdote, and film theory. Boorstin talks about great films such as Citizen Kane, Psycho, Fatal Attraction, and Dangerous Liasons. He describes what great movies do and what poor films do not do. In the last chapter he talks about what makes Hollywood films and filmmakers different from the rest of the global film industry

The film uses the three techniques of seeing films to analyze classic films. The voyeur’s eye, the vicarious eye, and the visceral eye are all ways of looking at films according to Boorstin. His description of how each way works is detailed and laced with examples and anecdotes from his own experiences as a filmmaker. In his analysis of Psycho the visceral way of experiencing a film is expertly described. It is one of the best parts of the book. After reading about Notorious, another famous Hitchcock film I was so taken with his analysis that I watched the film for the first time. I was similarly inspired to watch Psycho again. And to watch the infamous shower scene without music to see if, as Boorstin says, it’s not as a good without the music. The analysis of these films is excellent.

Another positive about the book is his anecdotes from personal experiences of working on movies. Boorstin was a producer on All The President’s Men. He talks about the processes that were used to make the film. He says the film wouldn’t have been made without Robert Redford backing the picture and starring in it. He also gives great insight to how Alan Pakula worked on the film. How he had a vision for the film and brought that vision to life. In another anecdote later on the book Boorstin talks about how he was going to make a feature film about an event in Tennessee that happened after WWII. But, it turns out that the events were different from what had been reported. So the project never came to be. It’s stories like these that bring his experiences to life.

The next positive about the book is the way it is structured. The book breaks down into six sections with several chapters to each section. Except for the last section which is a short discussion of Hollywood and it’s competition in the World. Each chapter deals with a specific aspect of film theory and the way we experience films. The fourth chapter talks about ways filmmakers combine aspects of the three ways to see films to create a unique experience in watching films. The book flows very well and is easy to read. It combines theories, stories and films to create a very good read.

Sometimes I felt a little overwhelmed with some of the theories. I’m not a film theorist, but I get the feeling that Boorstin has taken a course or two on Film Theory. Some of his ideas are very high-minded and might go over the heads of some readers who are not well versed in Cinema. The whole book is great. A few sections are very philosophical which would appeal to a specialized audience.

Another negative is that Boorstin rambles sometimes. He seems to go on and on about some aspect of filmmaking or a story from his experiences, but doesn’t make a strong point. It justs seems to go on for a time without coming to a conclusion or making a point.

Aside from some small negatives, I would recommend this book to anyone who was interested in films. I found out about the book from my MFA guide’s Screenwriting section. The way it talks about seeing films was new to me. The films it discusses are classics or new classics which might be underappreciated. Everyone knows about Citizen Kane and Psycho, but what about Notorious? Or Fatal Attraction? The latter films seem worth studying as well. I thoroughly enjoyed the book and would recommend it to any fan of films or someone who makes movies.

Book Review of Screen Language by Cherry Potter (2001)

4/1/2019

Patrick Charsky

Screen Language by Cherry Potter shows filmmaking techniques used by master filmmakers. The book was published in 2001. I found out about the book through my MFA guide that I received in Graduate School. Cherry Potter is a long time film professor who has written widely and taught for many years.

The best part about the book were the films selected for review. I read each chapter and watched each film. The films selected were either recognized masterpieces like Tarantino’s Pulp Fiction or films that deserve a second look like Camino’s Heaven’s Gate and Bertolucci’s The Conformist. The latter two films are underappreciated and Potter does a great service to film scholarship by analyzing them in her valuable book.

The next great aspect of the book was how it was organized. Each thematic chapter was organized around a particular aspect of film language. There were sections that dealt with the use of dreams and fantasies. There was a section about departures from the classic narrative structure. This section was especially good. It turned me on to Mirror by Tarkovsky which is considered his best film. It also discussed different theories about how to structure films which I found fascinating.

The writing was also excellent. There is so much valuable information in this text. It should be required reading for film students looking to study films or make their own films. I was enraptured with the amount of theoretical sophistication as well as the short reviews of each study film. I couldn’t wait to read each chapter and watch each film.

The book is decidedly academic. It might be over the heads of non specialist readers. Fanboys will be turned off from this book as too many art films not enough popcorn filcks. The films reviews are a little tedious and maybe not enough.

Aside from those drawbacks the book is excellent. It provides a concise analysis of different aspects of film language. It combines theory with examples it a way that is easy to read and easy to understand. One of the best film studies books I’ve ever read. Brings back films that were dismissed as too arty or bloated and sets them in their rightful place as film art.

I would highly recommend this book to anyone with an interest in film studies or filmmaking. It might not be for the fanboy audience, but it shows film as a glorious art form which anyone can appreciate.