CINEMA STUDIES: The first semester of the New York Film Academy one-year course includes an intensive film studies program taught from a filmmaker’s perspective. This course runs for one month concurrently with the Film Acting Workshop. Through daily lectures, discussions, and screenings of exemplary films, our students identify techniques that they may use on their own films. They learn how filmmakers have approached the great challenge of telling stories with moving images from silent films to the digital age. (NYC Film Academy)
"The picture is in your head, in your imagination, everything." ~ Fredrico Fellini
Andrey Tarkovsky: Sculpting in Time : Reflections on the Cinema Paperback: 254 pages *
Publisher: University of Texas Press; Reprint edition (April 1, 1989)
The idea behind the title of the book is that the film-goer goes to the cinema to experience time, and that the director's job is to sculpt the time that the audience experiences-- cut away the inessential words and seconds and pieces. This book is an introduction to the rules that Tarkovsky set for himself in achieving this goal.
* Cinematics [questia] by Paul Weiss; Southern Illinois University Press, 1975 ... "Ultimately, the auteur theory is not so much a theory as an attitude, a table of values that converts film history into directorial autobiography. The auteur critic is obsessed with the wholeness of art and the artist. He looks at a film as a whole, a director as a whole. The parts, however entertaining individually, must cohere meaningfully. This meaningful coherence is more likely when the director dominates the proceedings with skill and purpose." MacDonald, p. 194
from CHAPTER 4. Cinemakers: A cinemaker is a surrogate, not for a spectator at a dance or other art, but for a viewer of a finished film. It can not assume the position of a spectator at other arts, even when it is put at the position such a spectator might occupy, for it can not contribute what that spectator does and can. Spectators live with and through the dynamism of a dance, play, or reading. If a film is to catch a dance or a play or a reading as it actually occurs, it somehow has to include those spectators. But it will not show them making a difference to what they see, and therefore will not show them as living participants of the art which they are viewing.