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Fight Choreography: The Art of Non-Verbal Dialogue [Minkštas viršelis]

4.38/5 (27 ratings by Goodreads)
  • Formatas: Paperback / softback, 544 pages, aukštis x plotis x storis: 234x189x33 mm, weight: 1044 g, Contains 1 Paperback / softback and 1 Digital (on physical carrier)
  • Išleidimo metai: 01-Jul-2007
  • Leidėjas: Premier Press
  • ISBN-10: 1592006795
  • ISBN-13: 9781592006793
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 544 pages, aukštis x plotis x storis: 234x189x33 mm, weight: 1044 g, Contains 1 Paperback / softback and 1 Digital (on physical carrier)
  • Išleidimo metai: 01-Jul-2007
  • Leidėjas: Premier Press
  • ISBN-10: 1592006795
  • ISBN-13: 9781592006793
Kitos knygos pagal šią temą:
All of us have seen films in which the story and acting might be great, but the film suffers because the action and fight sequences are not convincing enough, are terribly shot or edited, or do not integrate seamlessly into the story, causing them to be ineffective, gratuitous, or worst of all, unintentionally humorous. However, when done well, fight and action scenes support and heighten the story and expand the characters. Fight Choreography: The Art of Non-Verbal Dialogue helps filmmakers ensure that the fight scenes in their films add to the film s overall quality. Creating a stage fight with a high level of clarity and entertainment value is a very complicated endeavor and requires skills that acting classes and martial arts schools cannot teach. This book helps filmmakers make sense of this art form and how they can use it to create their own styles of fights for a variety of projects, whether they be feature-length films, shorts, or television shows. The book is instructional, informative, and entertaining, and focuses on every important element involved in fight choreography, from basic philosophies, initial concept, and planning, to filming, editing, adding special effects, and sound mixing the final product. The book is not only an indispensable resource for filmmakers, but will also interestfilm buffs who want to learn how great fight sequences are made so they can better appreciate the action.

"Fight Choreography: The Art of Non-Verbal Dialog" presents a brief history of styles and weapons and the art of fight choreography, helping you understand its evolution and process. It will be instructional, informative, and entertaining, offering coverage of film history, fight choreography, filming, editing, sound effects, and cgi. It will focus on every important element involved in fight choreography--from basic philosophies, initial concept, and planning, to filming, editing, and sound mixing the final product.

Recenzijos

Introduction Chapter 1 Basic History of Fight Choreography and Fighting on Film Chapter 2 The Differences between Sport, Art, and Self-Defense Chapter 3 Definitions and Terminology Chapter 4 Primer Chapter 5 The Whole Structure Chapter 6 The Source Chapter 7 Extracting the Essence Chapter 8 The Narrative Structure and elements of a Fight Scene Chapter 9 Physical Elements of the Fight Scene Chapter 10 The Technical elements of a Fight Chapter 11 Developing a Choreographer's Eye Chapter 12 Recommended Reading, Viewing, and Other Resources Index

Introduction xix
Basic History of Fight Choreography and Fighting on Film
1(92)
Basic Overview: The Evolution of Fight Choreography
2(43)
The Birth of Film in the United States
3(32)
Asian Martial Arts Influence on Western Films
35(10)
The Dawn and Influence of the Modern-Day Kung Fu Brawl
45(3)
East versus West
48(11)
The Chain of Command on a Set
51(1)
The Difference in Perception of Action: Seeing beyond the Physical
52(3)
Culture/Religion
55(2)
A True Art Form versus a Gimmick
57(1)
Ageism
58(1)
Code of Ethics/Conduct
59(18)
Mythology
59(1)
Emphasis of the Fight: Elaborate versus Brief
59(3)
Length of the Fight
62(1)
Editing
62(1)
Camera Angles
63(1)
Stuntmen
63(1)
Choreographers
64(1)
Sound
65(1)
Special Effects
65(1)
Room for Advancement versus Categorization
66(1)
Billing/Recognition
67(1)
Time and Preparation
67(1)
Film Genres
68(1)
Story
68(1)
Perceptions and Stereotypes of Foreigners in Film
68(2)
Asian Talent in Western Films
70(5)
Globalization of Asian Martial Arts Films
75(2)
What We Can Still Learn from Bruce Lee
77(13)
He Had No Noticeable Misses or Bad Takes in the Fight Scenes in Any of His Hong Kong Films
77(1)
He Had Simple Techniques but Rarely Repeated Himself
78(1)
He Had an Individualistic Screen Presence
79(2)
He Had a Learning Curve
81(1)
He Understood the Emotional Content and Impact behind Each Technique
82(1)
He Was Adept with Both Hands and Feet, and He Was Not Afraid to Mix It Up
83(1)
He Was Unafraid to Show His Vulnerability
84(1)
He Knew the Importance of Having Great Stuntmen around Him
84(1)
He Had Different and Unique Timing and Rhythm
85(1)
He Had Great Martial Acting Skills
85(2)
He Had Effective and Convincing Before and After Poses
87(1)
He Did Not Have a Trademark or Signature Move
87(1)
He Had a Physique That Everyone Envied
88(1)
He Understood the Difference between Cinematic and Real Fighting
88(1)
He Injected Philosophy and Fight Strategy into His Films
88(1)
He Fought Only When Necessary
89(1)
Watching Bruce Lee's Movies
90(3)
Way of the Dragon (aka Return of the Dragon)
90(3)
The Differences between Sport, Art, and Self-Defense
93(44)
Three Major Approaches to Combat: Art, Sport, and Self-Defense
94(4)
Common Ground among All Three Concepts
94(1)
Definition of a Martial Art
95(1)
Definition of a Combative Sport
96(1)
Definition of a Self-Defense/Combative System
97(1)
What Is a Martial Artist?
97(1)
The Root of Combative Sports
98(5)
Mixed Martial Arts
98(2)
The Birth of Brazilian Jiu-Jitsu and Vale Tudo
100(1)
Coming to America and the Birth of the UFC
101(1)
Why MMA Is Popular with Audiences
102(1)
The Different Ranges of Combat Involved
103(1)
Tournament/Point Fighting
103(5)
What Is Free Sparring?
104(1)
What Is Tournament Fighting?
104(1)
Different Types of Tournaments
105(1)
Different Eras of Tournament Fighting
105(3)
Pro Wrestling
108(29)
What Is Sports Entertainment?
109(1)
What Is Fake?
110(1)
Pro Wrestling Comparisons to Fight Choreography for Film and Television
111(5)
A Brief History of Pro Wrestling
116(5)
World Wrestling Entertainment (WWE)
121(1)
Extreme Championship Wrestling (ECW)
122(1)
Hooking the Audience
123(3)
Pro Wrestling Outside America
126(7)
Outside the Ring: Wrestling on Film and TV
133(4)
Definitions and Terminology
137(20)
Empty-Handed Fighting Distance/Range
137(1)
Different Types of Fighters
138(1)
Offensive Fighters
138(1)
Defensive Fighters
138(1)
Counter-Attacker
139(1)
Styles of Fighters
139(2)
Technician
139(1)
Brawler
140(1)
Showman
141(1)
Emotional
141(1)
Intellectual
141(1)
Definitions of Fighting Terms
141(9)
Film Fighting and Stunt Terms
150(3)
The Pulse of a Fight Scene
153(4)
Primer
157(44)
Issues with Using a Real Martial Artist or Combative Athlete on Film
157(10)
What Is a Screen Fighter?
167(1)
The Importance of Rhythm in a Fight
168(3)
Working with and Training Actors, Stunt Players, and Stunt Doubles
171(1)
Differences between School Training and Film Training
172(3)
Purpose
172(1)
Time Invested
172(1)
Learning Process
173(1)
Length of Classes
173(1)
Techniques Used
174(1)
Application of Skills
174(1)
The Actor's Role in the Film
175(1)
The Role of the Stuntman and Stunt Double
175(1)
The Script and What to Teach
176(2)
Collaboration with Other Creative Departments
178(1)
The Relationship between Trainer and Actor
178(3)
Assessing the Actor's Physical Skills
179(1)
Understanding the Actor You Are Training
180(1)
Possible Issues That Can Arise during Training
181(2)
Horror Stories
183(2)
Horror Story #1
183(1)
Horror Story #2
184(1)
What Is Strategy?
185(10)
Basic Types of Strategy
187(1)
Use of Technique with Strategy
188(1)
Showing Character and Personality through Strategy
189(2)
Issues That Can Nullify a Character's Strategy
191(1)
Ways for an Audience to See Strategy
191(1)
Real-Life Strategists
192(2)
Examples of Fight Strategy on Film
194(1)
The Difference between Violence and Action
195(2)
Justification for Actions Taken
197(4)
Five Basic Justifications
198(3)
The Whole Structure
201(6)
Introduction to the Process of Putting Together a Fight Scene
201(3)
The Balancing Game
204(3)
Relationship between Physical and Technical
204(1)
Problems That Can Arise on the Technical Side
205(1)
Compensating for One Another
205(1)
X Factors That Were Not Worked into This Equation
205(2)
The Source
207(58)
The Story
207(8)
Back Story
208(1)
Exposition
209(1)
Character Arcs
209(2)
Reveals
211(1)
Setups and Payoffs
211(3)
Justification of the Action and the Skills of the Characters
214(1)
The Characters
215(15)
The Role of the Hero
215(1)
Different Types of Heroes
216(3)
Justifying the Hero's Actions
219(2)
The Villain
221(2)
The Mentor
223(7)
The Buildup
230(14)
Training Sequences
230(14)
What Is a Form?
244(4)
Levels of Forms
245(2)
Use of Forms in Combat and Other Situations
247(1)
The Script
248(14)
The Three Acts of a Screenplay and the Types of Action Used in Each Act
253(9)
Questions
262(1)
Exercises
263(2)
Extracting the Essence
265(58)
Assembling the Character and Story Inventory
266(3)
Breaking Down the Script
269(2)
Creating Your Character Bible
271(11)
Putting Together Your Character Bible
272(10)
Creating the Fighter's IQ
282(33)
Number of Fights in Which the Character Participates
284(1)
Result of Each Fight
284(1)
Justification (Part 1): The Fighter's Skills
284(1)
Heightened Sense of Awareness
285(2)
Time Period
287(1)
Handicaps
287(1)
Traditional Fighter or Modern Eclectic
287(1)
Animal Representation
288(1)
Temperament
289(1)
Fighting Spirit
289(1)
Flashy or Effective Techniques
290(1)
Number of Different Styles, Disciplines, and Approaches to Enforcement
291(1)
Character's Reaction/Response to New Places
291(1)
Uncomfortable Place or Environment for the Character
291(1)
Skills and How They Were Acquired
291(1)
Responsibility Due to Skills and Title/Position
292(1)
Direct Effect of Fights on the Character's Growth (Arc) throughout the Film
293(1)
Anger
293(1)
Conditioned or Unconditioned
293(7)
Reaction/Response
300(1)
The Caste System
301(1)
Fighting Distance
302(1)
Motivation to Fight
302(1)
Flaws, Weaknesses, and Strengths
302(1)
Learning Curve
302(1)
Physical, Emotional, Mental, and Spiritual Rituals
303(1)
Previous Physical Confrontations or Fights
303(1)
Street Sense
304(1)
Thinking Process
304(1)
Inventory of the Character's Mental, Physical, Spiritual, and Emotional Fighting Skills
305(1)
Things the Character Should Not Do in a Fight
305(1)
Morals or Code of Conduct in Battle
305(1)
Character's Actions during Events beyond His Control
306(1)
Ego
306(1)
Transcendence to Mental, Spiritual, or Mythical Aspects
307(1)
Personal Carriage When at Rest
308(1)
Actions in Uncomfortable Situations
308(1)
Character's Training
308(1)
Relationship to Mentor
308(1)
Respect for Authority Figures
308(1)
Character's Reaction to Lessons He Can't Understand
309(1)
Pre-Planned Fights
309(1)
Issues about Death
310(1)
Injury or Death at the Hands of the Character
310(1)
Signature Moves
311(1)
Distinct Signature Weapons
312(1)
Character's Level of Proficiency
312(2)
Interactions with More Highly Skilled Individuals
314(1)
Reputation
314(1)
External Symbols or Indications
315(1)
Fight Chart and Stats
315(8)
your Fight Chart
315(1)
Stats
316(7)
The Narrative Structure and Elements of a Fight Scene
323(38)
Fight Scene Structure
324(37)
The Lead-Up
326(10)
The Physical Fight/Conflict
336(10)
Flexible Elements
346(12)
Overall Elements throughout the Fight
358(3)
Physical Elements of the Fight Scene
361(24)
The Framework
361(1)
Physical Elements Defined
362(14)
Intent and Choice of Techniques
362(1)
Beats and Pauses
362(1)
Rhythm
363(1)
Timing
363(1)
Cues
363(2)
Length
365(2)
Environment
367(1)
Stylization of Moves
367(2)
Body Language
369(1)
Centerline and the Centerline Theory
369(2)
Stances
371(2)
Combination of Approaches
373(2)
Camera Awareness
375(1)
Collective Rhythm of the Fight
376(1)
What Exactly Is Martial Acting?
376(7)
Good and Bad Martial Acting
377(1)
Martial Acting during a Fight
378(2)
Martial Acting before and after a Fight
380(3)
Reactions
383(1)
Facial Expressions
384(1)
Exercises
384(1)
The Technical Elements of a Fight
385(32)
Cinematography
386(19)
Rehearsing with the Cameraman
386(4)
Effective Camera Angles
390(1)
Distance from the Fight
390(2)
Camera Height
392(1)
Keeping It Visually Pure and Effective
393(1)
Inserts and Close-Ups
394(1)
Frame Composition
394(1)
The Issue of Getting in Too Close
394(4)
Showing Just Enough
398(1)
Slowing Down or Speeding Up the Action
399(5)
One Take: Continuous Action without Breaks
404(1)
Editing
405(6)
Different Styles of Editing
406(2)
The Fight Choreographer's Dilemma
408(2)
Solutions
410(1)
Processing Information
410(1)
The Pulse of a Fight Scene
411(4)
Cinematography Exercises
415(1)
Editing Exercises
415(2)
Developing a Choreographer's Eye
417(40)
Developing an Eye for Action
418(28)
See Films in a Theater First
418(2)
Study Audience Reactions
420(1)
Expand Your Tastes
420(2)
Try Not to Prejudge a Movie
422(1)
Be Selective about Whose Reviews You Read
423(1)
Do Not Substitute Box-Office Gross for Aesthetics
424(1)
Learn to Read Subtitles
425(2)
Know What to Ask Yourself after Seeing a Movie
427(2)
Know Your Action Film History and the Contributors
429(1)
Learn to Be Film Literate
430(1)
Know Whether the Film Was Made for You
431(2)
Too Much Information to Handle?
433(1)
Test Yourself
433(1)
Daydream about Fight Scenes
434(1)
Design a Fight Scene Every Day
434(1)
Learn, Observe, and Study Human Psychology
435(1)
Learn How the Human Body Moves and Works
436(1)
Compare and Contrast
436(2)
Learn and Hear about the Creative Process
438(2)
Go to the Creative Source
440(1)
Attend Live Sporting Events in Which Physical Contact or Body Rhythm Is Involved
441(1)
Learn Several Different Styles of Martial Arts
441(1)
Film Your Own Fights
442(1)
Learn to Take Criticism
443(3)
Starting a Video Reference Library
446(11)
A Filmmaker's Artistic Integrity
446(1)
Video Stores
447(1)
All DVDs Are Not the Same
448(1)
Do Not Limit Yourself to Viewing Only DVDs
448(1)
Why Look for Imported DVDs?
448(2)
How and Where to Find Rare, Obscure, and Imported DVDs
450(3)
Be Aware of ``Dubtitles''
453(1)
TV Size
454(1)
PAL, NTSC, and SECAM
454(1)
Watch an Action Scene without Any Sound
454(1)
Keep Your Movies in a Database
455(1)
For Those on a Budget
455(1)
Be Aware of ``Double-Dipping''
456(1)
Recommended Reading, Viewing, and Other Resources
457(32)
Further Reading
457(3)
Stunt Related
457(1)
Film Biography
457(1)
Filmmaking: The Process
458(1)
Producing
458(1)
Film History
458(1)
Screenwriting
458(1)
Cinematography
459(1)
Martial Arts
459(1)
Artists and Creative Issues
459(1)
Suggested Viewing
460(8)
Fight/Stunt Related
460(1)
Filmmaking
461(1)
Screenwriting/Storytelling
461(1)
Film Biography
461(1)
Martial Arts
462(1)
Combative Sports
462(3)
Sports Entertainment
465(1)
Other
466(2)
Periodicals
468(4)
Stunt-Related Periodicals
468(1)
Screenwriting Periodicals
468(1)
Filmmaking Periodicals
468(1)
Daily Entertainment Business Periodicals
468(1)
Action-Specific Entertainment Periodicals
468(4)
General Film and Entertainment Reviews
472(1)
Martial Arts Periodicals
472(1)
Combative Sports Periodicals
472(1)
Pop Culture Periodicals
472(1)
Professional Wrestling Periodicals
472(1)
The Major Studios
472(1)
Additional Resources
473(1)
DVD Distributors
473(1)
Organizations and Unions
474(1)
Independent DVD Dealers
475(2)
Stunt Organizations
477(1)
Women's Film Organizations
477(1)
Film Conservatories and Institutes
477(1)
Award Shows
478(1)
Critics Societies
478(3)
Online Resources
481(5)
Books
481(1)
Celebrity Sites
481(1)
Daily Entertainment News (Subscription)
481(1)
Screenwriting
481(1)
Movie News
481(1)
DVD Reviews and News
481(5)
Martial Arts Online References
486(1)
Boxing Online References
486(1)
Mixed Martial Arts Online References
486(1)
Pro Wrestling Online References
486(1)
Sports Wrestling Online References
486(1)
Conventions and Festivals
486(3)
Festivals
488(1)
Index 489
Author John Kreng has been studying martial arts since 1973 and currently holds third-degree black belts in Tang Soo Do and Te Katana Jujitsu. He has taught numerous professional athletes and actors to get ready for their roles. Whether it's for the playing field, the screen, or the individual's personal evolution, John has proven himself a very capable teacher. His love of martial arts/action films led him to become a contributing editor for several martial arts and film review magazines. For the twenty-fifth anniversary of the release of Enter the Dragon, John was the writer, coordinating editor, and project supervisor for the Bruce Lee Tribute issue published by TC Media.