Fans pick 100 books like Narration in the Fiction Film

This popular text on screenwriting relates films to narrative ideas found in ancient myths around the world.

Vogler does an excellent job in demonstrating how films often use elements of plot and character that have proven to be universal characteristics of stories for centuries. He applies these concepts not only to fantasy films but standard Hollywood dramas such as Titanic. 

I found Claudia Gorbman’s book insightful in her examination of how film music helps to reinforce the story and enhance the mood of what’s happening on the screen.

Music has a powerful impact on the film viewer, shaping our emotional response to the characters and their triumphs and challenges. Using many examples, this book sharpened my understanding of how music works in a film. 

This is another seminal text which introduced me to the critical theory of film viewers as “readers.”

Watching a movie is not a passive activity. The mind is very active, constantly shifting through the multiple channels of information, organizing the details into a coherent picture of the fictional world presented in the film.

Monaco examines several ways in which this creative-receptive process works in the viewer’s mind.

Using multiple helpful examples to illustrate her points, the author examines the various ways that films tell their stories visually through the use of cinematography.

Techniques of lighting, editing, movement, color, and camera placement are effectively discussed, making this a helpful and practical resource for film-making students as well as those who simply want to appreciate the art of filmmaking. 

David Curtis’ copiously illustrated book is a wide-ranging yet detailed introduction to the world of artists’ film, with over 400 filmmakers discussed. The survey is rooted in the historical avant-garde of the 1920s and ‘30s but covers work up to the present day. While major figures such as Steve McQueen and Bill Viola are mentioned, equal space is devoted to little-known filmmakers from France, Poland, and elsewhere.

I love this book for two special reasons: it was written by a scholar who doubles as a film director and thus understands both media from the inside and it is the first work to elaborate on the meaning of “historiophoty,” a word coined years ago by the famed historian, Hayden White, that means “the representation of history and our thought about it in visual images.” 

In clear and compelling prose, Nelson undertakes the enormous task of consolidating several decades of scholarship in diverse fields (history, film, philosophy) to create five principles that allow you and I to think more clearly about the real contributions of historical films. Her work allows you to better understand the explicit and implicit meanings of historical films.

This lavishly illustrated large-format volume takes the reader from George Lucas’s childhood and early youth to his years at film school and his subsequent Hollywood career as a director, writer, and producer, with a particular emphasis on the production histories of his key films.

With unprecedented access to countless interviewees and archival materials, Hearn brings George Lucas and the making of his films to life.

Apart from telling compelling stories, he also reproduces a wide range of documents for the reader’s perusal so that the book may serve as an archive in its own right (and I have certainly used it precisely in this way in my own research).

We’ll be honest. We don’t really remember the romantic drama Up Close & Personal (1996), starring Robert Redford and Michelle Pfeiffer. But we won’t forget this book by Dunne, who wrote the film with his wife, Joan Didion. This is a forthright look at the writer’s lot in Hollywood. It’s a manual for massaging egos and dealing with conflicting notes, told with bracing honesty.

Sometimes, you take a job because you need health insurance. Sometimes, a movie that starts out based on the tragic true story of newscaster Jessica Savitch becomes a glossy sudser in which she lives. Sometimes, a troubled project becomes a hit despite itself. That’s always show business.

Another book focusing on the medium of film, but again the lessons to be learned about good storytelling are universal. Alexander ‘Sandy’ Mackendrick directed such classic Ealing comedies as The Man in the White Suit and The Ladykillers, also the Hollywood masterpiece, Sweet Smell of Success. After retiring from filmmaking in 1969, he spent nearly 25 years as a professor at CalArts in Los Angeles where he helped students to write better stories and communicate them effectively through the craft of filmmaking.

This book is compiled from Mackendrick's legacy of masterly handouts and lectures. One section I found incredibly insightful is his comparison of two versions of a key scene from the script of Sweet Smell of Success (initially written by Ernest Lehman and subsequently rewritten by Clifford Odets), seeing how increased tension between the characters is achieved.

Apart from presenting George Lucas in his own words, this book offers a concise introduction to his career, including a chronology and a filmography.

The interviews collected herein go from a May 1971 article in the San Francisco Chronicle about the young filmmaker whose first feature, the rather abstract Science Fiction drama THX 1138, had just come out (and flopped!), all the way to a conversation with the Los Angeles Times in January 1999 about the forthcoming release of the first Star Wars prequel Star Wars: Episode I – The Phantom Menace.

Despite dramatic changes in Lucas’s status as a filmmaker (and businessman) across this period, the interviews reveal striking continuities, notably his striving for maximum control over his films and business affairs.