He talks about varying sentence length, but then gives strategies for editing these problems out, and also addresses the tendency of some people to be excessively report-like in their writing, which is a personal pet peeve of mine. It is true that Corrigan tends to wax a bit loquacious, letting wordy and meandering discussion often obscure the really important things he has to say.
InI reviewed for Flickchart after attending a preview screening, and I found that I had a difficult time really figuring out just how strongly I felt about its pros and cons. Although, in fairness, if I a freshman film student, I probably would have found the book engaging and encouraging, and I certainly would have appreciated author Timothy J.
The entire last chapter is dedicated to manuscript form and issues of margins and spacing, etc.
I feel that section gives the reader a whole lot more context for both the review and reviewer than is typically found in movie reviews. But the book tries to do too many tasks at least three big ones and consequently, it does none of them as well as it could--or should. So, for the time being at least, while this may be one of the best available books on writing essays about film, it has its share of problems.
So those were pluses. For example, his discussions in the first and fourth chapters of different approaches to film criticism and of different kinds of essays about film are each limited to a few meager pages. Michael An excellent guide to writing well about movies, in which all the advice is good and nothing is left out.
After all, who was I kidding? But these are the very subjects his book should have addressed in greatest detail. The book is divided into seven chapters: My responses are mixed as well.
This seemed a handy starting place for improvement. I still find it very interesting and relevant even after graduating and it will hold a place on fondness on my bookshelf. Very interesting and informative, with good formalist essay examples and research tips.
It was highly useful for me and was a big influence on helping me get through writing critical analysis film papers. Third, the text is part film writing primer. But I did not think this book really taught me anything I did not already know.
Corrigan for not trying to intimidate me. These are all welcome and significant enhancements. Appendices include a list of common editorial symbols, a glossary, and an index. Unfortunately, effort and space wasted on the other two tasks unnecessarily restrict what Corrigan does on this score.
This is the task on which Corrigan should have limited himself, given the obvious desire to keep the book small, and this is the aspect of the book that works best. It is thus almost as disappointing as it is helpful. Jon Two stars might be rather unfair to this book. That led me to ending my review by including a section of how that movie entered my Flickchart, walking the reader through a series of head-to-head matches that allowed me to comment on the merits and how appealing they were of both films.
If you know how to write pretty well, you can read this book and feel happy that you know the robes. Notable changes to the seventh edition include some helpful advice about documentary and avante-garde films, an expansion of the internet resource section, and more information about film sound.
Still, I hoped for more. There is a lot of sound advice in the text, and the sample essays are particularly helpful. It is probably better than two stars - for someone else. I really dig that section, and it instantly became a staple of all my reviews for Flickchart as well as all my personal movie watching diary entries on Letterboxd.
The questions it gives to help people analyze a film would be useful to someone without any real experience with analyzing and writing about film, so I guess the book does just what it intends to do: I contribute to the blog for the movie ranking website Flickchart.
Sure to be of even more help for undergraduate students and the average reader interested in doing some more work in and around film and film studies. Short, sweet, and pretty helpful when it comes to writing about film.This best-selling text is a succinct guide to thinking critically and writing precisely about film.
Both an introduction to film study and a practical writing guide, this brief text introduces you to major film theories as well as film terminology, enabling you to write more thoughtfully and critically.
Short Guide to Writing about Film, Books a la Carte Edition Plus NEW MyLab Writing with eText -- Access Card Package (9th Edition) Sep 5, | Student Edition. by Timothy Corrigan. Loose Leaf. $ $ 56 67 Prime. FREE Shipping on eligible orders.
Temporarily out of stock. Order now and we'll deliver when available. This best-selling text is a succinct guide to thinking critically and writing precisely about film. With numerous student and professional examples along the way, this engaging and practical guide progresses from taking notes and writing first drafts to creating polished essays and comprehensive research projects.
This best-selling text is a succinct guide to thinking critically and writing precisely about film. Both an introduction to film study and a practical writing guide, this brief text introduces students to major film theories as well as film terminology, enabling them to write more thoughtfully and critically.4/5(79).
The key to writing a short film is to keep it simple. It’s just not possible to squeeze a feature film idea or a particularly complex idea into a short format and do it justice. It’s a bit like trying to squeeze a novel into a short story – they’re different animals.
A short guide to writing about film. [Timothy Corrigan] -- This best-selling text is a succinct guide to thinking critically and writing precisely about film.
Both an introduction to film study and a practical writing guide, this brief text introduces.Download