Language of Film

John Marland is Senior Lecturer in Film and Literature at York St John University, UK, where he has both taught and developed undergraduate courses in Scriptwriting.Steven Rawle is a Senior Lecturer in Film Studies at York St. John University, UK, where he teaches film form and the politics of global cultural production at undergraduate and postgraduate levels.Robert Edgar is a Senior Lecturer in the Faculty of Arts at York St John University, UK, where he teaches creative writing and film and television. Publications include Screenwriting (2009) and Directing Fiction (2010). Research projects include work on Hitchcock and Herrmann, contemporary television and Top Gear. Robert was a co-editor of The Music Documentary: Acid Rock to Electropop (2013).

• IntroductionChapter 1: Semiotics: Images; The Visual Mind; Reading the Signs; Making Meaning; Codes and Filters; Case Study: Seven; Chapter SummaryChapter 2: Narrative: Theories of Storytelling; Structuralism; Theories of Structure; Genette’s Narrative; Discourse; Music; Short Film and Narrative; Case Study: The Secret Life of Walter Mitty; Chapter SummaryChapter 3: Intertextuality: Text; Quotation; Allusion; Cult Film; Genre; Case Study: Citizen Kane; Chapter SummaryChapter 4: Ideology: Ideological Analysis; Realism; Ideology and Genre; Case Study: Dead Man’s Shoes; Chapter SummaryChapter 5: Frames and Images: The Shot; Distance, Height and Framing; Shot Distances; Mise en Scène; The Mobile Camera Frame; Time and the Long Take; Case Study: Hero; Chapter SummaryChapter 6: Sound: Film: An Audiovisual Medium; Sound Properties; Diegetic and Non-diegetic Sound; Offscreen Space and Audio; The Voice; Music; Case Study: Berberian Sound Studio; Chapter SummaryChapter 7: Constructing Meaning: Continuity Editing; Discontinuity Editing; Montage; Pacing; Case Study: Psycho; Chapter SummaryConclusionFilm Language GlossaryIndexAcknowledgements and Credits

The Language of Film is both a passionate and instructive book that illuminates the reader with the pleasures associated with the discovery of film theory, history and aesthetics. The essence of the book will awaken the desire to transform an understanding of these primary film elements into practice.