MARC details
| 000 -LEADER |
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| fixed length control field |
10792nam a2200253Ia 4500 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
HCC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20250113213902.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
131128s1997 nyu b 001 0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
0805044515 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9780805044515 |
| 040 ## - CATALOGING SOURCE |
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| Transcribing agency |
HCC |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER |
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| Classification number |
070.18 HAM |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Hampe, Barry. |
| 245 10 - TITLE STATEMENT |
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| Title |
Making documentary films and reality videos : |
| Remainder of title |
a practical guide to planning, filming, and editing documentaries of real events / |
| Statement of responsibility, etc |
Barry Hampe. |
| 250 ## - EDITION STATEMENT |
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| Edition statement |
1st ed. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) |
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| Place of publication, distribution, etc |
New York : |
| Name of publisher, distributor, etc |
Henry Holt, |
| Date of publication, distribution, etc |
1997. |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
xxiv, 342 p. ; |
| Dimensions |
21 cm. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc |
Includes bibliographical references (p. 326-327) and index. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc |
Filmography: p. 319-325. |
| 505 ## - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
Table of Contents<br/><br/>PART I: MAKING ANALOGS OF REALITY 1 (90)<br/> 1. It Looks So Easy 3 (12)<br/> It Takes More 4 (1)<br/> The Camera Won't Do It for You 5 (1)<br/> Good Images Don't Just Happen 6 (2)<br/> A New Interest in Documentaries 8 (1)<br/> Documentary Genres 9 (3)<br/> About This Book 12 (3)<br/> 2. How Things Got This Way 15 (15)<br/> The Hollywood Model 16 (4)<br/> Breaking the Rules 20 (2)<br/> Cinema Verite Changed the World 22 (1)<br/> The Reality Problem 23 (4)<br/> Two Major Approaches to Documentary 27 (3)<br/> 3. Reality Is Not Enough 30 (6)<br/> The Form of Reality 32 (1)<br/> High Degree of Abstraction of Film and Video 33 (1)<br/> Digitally Enhanced Images 34 (1)<br/> Every Frame Requires a Decision 35 (1)<br/> 4. Recording Human Behavior 36 (13)<br/> What It Takes 37 (1)<br/> How Not to Record Behavior 38 (3)<br/> A Set of Ideas about Documenting Behavior 41 (8)<br/> 5. Visual Evidence 49 (20)<br/> Miss Darling and the Scene That Wasn't There 50 (2)<br/> Keep It Visual 52 (1)<br/> When Is a Film Not a Film? 53 (2)<br/> Gathering Evidence 55 (2)<br/> Behavior as Visual Evidence 57 (1)<br/> Recording Visual Evidence 58 (3)<br/> Editing Visual Evidence 61 (2)<br/> Interviews as Visual Evidence 63 (1)<br/> When Pictures Contradict What Is Said 64 (2)<br/> Unreal Images 66 (1)<br/> Visuals, Empty Shots, and Visual Evidence 67 (2)<br/> 6. Verisimilitude in Documentary 69 (8)<br/> Verisimilitude in The War Game 70 (1)<br/> Verisimilitude in a Documentary 71 (5)<br/> Verisimilitude and Editing 76 (1)<br/> 7. Ethics in Making a Documentary 77 (14)<br/> The Question of Releases 78 (1)<br/> The Need for a Documentary Ethic 79 (4)<br/> Informed Consent 83 (1)<br/> The Eye of the Beholder 84 (2)<br/> Areas of Confusion 86 (2)<br/> Making Our Own Ethical Judgments 88 (3)<br/>PART II: PREPRODUCTION 91 (106)<br/> 8. Steps in Producing a Documentary 93 (10)<br/> Preproduction 93 (4)<br/> Production 97 (1)<br/> Postproduction 98 (5)<br/> 9. The Documentary Idea 103(16)<br/> What Is the Concept? 103(6)<br/> Conventional Concepts 109(3)<br/> Planning 112(3)<br/> Documenting Behavior or a Unique Event 115(4)<br/> 10. Writing a Documentary 119(23)<br/> What Does the Writer Do? 119(1)<br/> The Writer's Gifts to the Production 120(6)<br/> Proposal Writing 126(1)<br/> Treatment 127(1)<br/> Film Treatment: A Young Child Is... 128(5)<br/> The Script 133(3)<br/> Writing the Words That Are Said 136(3)<br/> Suggestions for Documentary Scriptwriters 139(3)<br/> 11. Scouting 142(9)<br/> Lighting 143(3)<br/> Sound 146(1)<br/> People and Things 146(1)<br/> Fees, Permits, and Minders 147(1)<br/> Convenience 147(1)<br/> Crew Comfort 147(1)<br/> Out-of-Town Locations 148(1)<br/> Location Costs 148(1)<br/> General Considerations 149(1)<br/> Planning for Spontaneity 150(1)<br/> 12. The Documentary Crew 151(13)<br/> Who Does What on a Production 152(7)<br/> Who Will Do What on Your Production? 159(2)<br/> Finding and Choosing a Production Crew 161(3)<br/> 13. Equipment 164(9)<br/> Film or Video? 164(2)<br/> Camera Equipment 166(1)<br/> Sound Equipment 167(2)<br/> Lighting and Grip Equipment 169(1)<br/> Miscellaneous 170(1)<br/> Should You Rent or Buy Equipment? 171(1)<br/> Be Sure You Have an Equipment Meister 172(1)<br/> 14. Scheduling 173(12)<br/> Preproduction 174(1)<br/> Production 175(2)<br/> Location Shooting 177(1)<br/> One Day in a Hospital 178(5)<br/> Then There Are Those Other Days 183(1)<br/> Scheduling Postproduction 183(2)<br/> 15. How Much Will It Cost? 185(12)<br/> Factors Affecting the Budget 186(2)<br/> Above- and Below-the-Line Costs 188(1)<br/> A Budgeting Checklist 188(9)<br/>PART III: PRODUCTION 197(80)<br/> 16. Recording Picture and Sound 199(19)<br/> Zero-Level Knowledge 199(3)<br/> Recording for Editing 202(1)<br/> A Documentary Is Made with Light 203(4)<br/> Camera Work 207(6)<br/> Documentary Sound 213(5)<br/> 17. Working on Location 218(4)<br/> Preparation 218(1)<br/> Be a Good Visitor 219(1)<br/> Time Off While on Location 220(1)<br/> Clients, Friends, and Family 220(2)<br/> 18. Building an Invisible Wall 222(13)<br/> Documentary Situations 223(3)<br/> Temptations 226(4)<br/> What about a Hidden Camera? 230(5)<br/> 19. Directing People Who Are Not Actors 235(12)<br/> Hold Auditions 236(1)<br/> You Have to Be the Professional 237(3)<br/> Acting Natural 240(2)<br/> Seven Deadly Sins 242(3)<br/> Learn from Working with Children 245(2)<br/> 20. When You Must Work with Actors 247(16)<br/> Casting 247(2)<br/> Auditions 249(3)<br/> What Does a Documentarian Know about Actors? 252(1)<br/> Costume and Makeup 253(1)<br/> Directing Actors 254(3)<br/> One-on-One 257(4)<br/> Film and Video Acting vs. Stage Acting 261(2)<br/> 21. The Documentary Interview 263(9)<br/> What Is an Interview? 264(1)<br/> Preparation 265(1)<br/> On Location 266(2)<br/> Shooting Options 268(2)<br/> Ask the Right Questions 270(1)<br/> Practice 271(1)<br/> 22. Some Other Production Considerations 272(5)<br/> It's Hard, Physical Work 272(2)<br/> Your Hotel or Motel 274(1)<br/> Be Truthful and Be Punctual 274(1)<br/> Write Thank-you Letters 275(2)<br/>PART IV: POSTPRODUCTION 277(38)<br/> 23. Preparation for Post 279(8)<br/> Protect Your Original Footage 279(1)<br/> Get Organized 280(1)<br/> Logging Footage 280(4)<br/> Narration, Graphics, Animation 284(1)<br/> Doing a Paper Edit 285(1)<br/> How Long to Allow for Edit Prep 286(1)<br/> 24. Editing the Documentary 287(22)<br/> Transcript Editing 290(1)<br/> Using an Editor 291(1)<br/> Editing from the Script 292(1)<br/> Work on the Whole Documentary 293(3)<br/> The Importance of a Good Opening 296(4)<br/> Middles 300(4)<br/> The Ending 304(1)<br/> Seven Sins of Editing 304(2)<br/> Fine Cut 306(1)<br/> Getting Feedback 307(2)<br/> 25. Finishing the Production 309(6)<br/> Approval Showing 309(1)<br/> Final Elements 310(1)<br/> The Video On-line 311(2)<br/> Finishing on Film 313(1)<br/> Going to Distribution 313(1)<br/> Enjoy It--and Move On 313(2)<br/>Appendix 315(4)<br/>Filmography 319(7)<br/>Bibliography 326(3)<br/>Index 329<br/> |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name as entry element |
Documentary films |
| General subdivision |
Production and direction. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name as entry element |
Video recordings |
| General subdivision |
Production and direction. |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
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| Koha item type |
Books |
| Source of classification or shelving scheme |
Dewey Decimal Classification |
