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The Power of Film, by Howard Suber
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One of America's most distinguished film professors provides the definitive A to Z course on the intricacies of film. Each entry in this remarkable book, which represents a lifetime of teaching film, has already inspired and educated several generations of Hollywood's greatest filmmakers and writers. This book examines the patterns and principles that make films popular and memorable, and will be useful both for those who want to create films and for those who just want to understand them better. Advance Review Quotes: ""Howard Suber's understanding of film storytelling fills the pages of this wise, liberating book. Much of it is surprisingly contrary to what 'everyone knows.' A remarkable work."" Francis Ford Coppola
- Sales Rank: #141133 in Books
- Brand: Brand: Michael Wiese Productions
- Published on: 2006-09-01
- Format: Unabridged
- Original language: English
- Number of items: 1
- Dimensions: 8.46" h x .91" w x 5.52" l, 1.15 pounds
- Binding: Paperback
- 424 pages
- ISBN13: 9781932907179
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From the Publisher
Advance Reviews for the Power of Film "Suber genuinely helps us understand 'the power of film' - why it has been the predominant art form for more than a century, and why it continues to have such power over the lives we all lead" - Geoff Gilmore, Director of the Sundance Film Festival
"What Artistotle did for drama, Suber has now done for film. This is a profound and succint book that is miraculously fun to read." -David Koepp, Screenwriter, War of the Worlds (2005), Spider-Man, Mission Impossible, Jurassic Park
About the Author
Suber has taught more than 65 different courses in 50 years at UCLA's celebrated film schoo. He has been a consultant to every major film studio, and his former students are currently active throughout the world.
Most helpful customer reviews
15 of 16 people found the following review helpful.
An Essential Book
By Don Maxwell
Howard Suber delivered a lecture to a large gathering in a theater in Kansas City this spring. What was striking about the experience was how Professor Suber turned this theater into a classroom and, by asking questions, made us active participants in a search for answers to the question: "What makes a film great?".
Suber's book, "The Power of Film", uses this same Socratic Method but the technique is necessarily different. Instead of asking questions, a writer can only pose riddles, and to this end Suber employees wit and irony to provoke careful and thoughtful reading of his concise dictionary like definitions.
The films Suber examines are American films. Without being jingoistic, he says that over the decades American films have been the most popular not only in the U.S. but all over the world. The American films he focuses on are those that have maintained their appeal ten years after they were released those, in other words, which have stood the test of time and remain perennial favorites.
The question he asks is: "What makes these films classics?"
Some of the answers are surprising. The notion, for example, that Hollywood films, to be popular, have to have a happy ending, Suber demonstrates is not true. Think of the Godfather films, Lawrence of Arabia, Chinatown. Even "It's a Wonderful Life" journeys through some very dark regions before emerging with a comic ending.
So why do people go to see these films? Suber suggests that going to the movies is akin to going to church, that what people need and want is to experience time honored rituals that put us in touch with our humanity.
As a practicing filmmaker, I have spent many hours over the years thinking about how to use the power of film to move an audience and I am always looking for help. Of the many available, I have culled a few "essential" books on film theory and aesthetics. Eisenstein's "Film Sense" and "Film Form" are two, Pudovkin's 'Film Technique and Film Acting", Mascelli's "Five C's of Cinematography" and a few others. Suber's "The Power of Film" has already taken its place with these.
Why? Because first of all, the book is packed with information and insight covering every subject about American film, literally from A to Z. Second, the insights are uncannily precise. A brief example: I don't like using flashbacks because I feel they are too easy but I find I must at times because they are sometimes necessary and I haven't been able to think of anything better. This is in Suber's definition of "Flasbacks":
"The reason flashbacks came back is that they are not merely
stylistic flourishes, like iris shots; they are necessary tools
that, so far, cannot be replaced by others."
The authority of this statement is reassuring, but notice the two words: "so far"; this tiny insertion leaves open the possibility and, indeed, ecourages the search for other ways.
How to transition to a flashback?
"The camera moves to a tight close up of a character's eyes, they
glaze over and we hear an echo chamber voice..."
I fear that every time I use this device that someone in the audience is going to yell out: "Visual cliche!". It never happens and I continue to use it because, as Professor Suber says: "no one has come up with anything substantially better.".
This is a sampling of some of what can be considered Suber's practical advise; but this book is very rich and has a broad range and covers everything from the technical to the philosophical.
The entry for "Tragedy" is three pages long but delivers a store of wisdom. One paragraph in this concise definition is about "impulsivity", and the final line reads:
"Impulsivity we see over and over again leads to tragedy."
The philosopher Martin Buber in his book "Good and Evil" devotes pages of discussion to the tendancy to impulsivity and how it is an aspect of evil. Suber's book is obviously a distillation of years of thinking and study not only about film but also about human nature.
The entries that make up this book are cross referenced. This cross referencing, like the use of wit and irony, is not only an practical aid, but also an encouragement to explore the connection of ideas.
Suber has carefully culled the essential ideas of what makes a film "great" and this selection reveals that the subject in Suber's mind has a unity, that it constitutes an aesthetic, an interlocking system of ideas. It is an indication of Howard Suber's wisdom as a teacher that he does not expound this system but only indicates it; and because this system must be discovered and recreated by every reader, it will always be new.
6 of 6 people found the following review helpful.
A great read - informative and terrific fun
By Doug Carneal
Getting the book and reading all of the blurbs on the cover written by film experts like Coppola and several successful Hollywood screenwriters, I was a bit concerned that perhaps I had purchased an insiders handbook, which might prove too esoteric for the casual reader. The 'power of the book' Prof. Suber has written, is his ability to take substantive information and make it enjoyable reading. The book is written in bite size stories, alphabetized by topic, each insightful and entertaining. I often sat down with the intent of a quick read of one or two articles and discovered I had read seven or eight. The topics are easy to digest, yet informative enough to go back and read several times.
Certainly as Bill Cosby used to say, "Be careful or you just might learn something". Film students and pros, no doubt already know about(and swear by)this book, this review is for the rest of us, those who just like films. The Power of Film would make a terrific gift for lovers of films of all ages and is certainly a must read for anyone with film career aspirations.
4 of 4 people found the following review helpful.
Memorable
By Roberta Degnore
THE POWER OF FILM is zen. Spare, but overflowing. This is one book on film that respects the reader. It does not tell you what to think or impose "expert" opinions. Rather, Howard Suber's THE POWER OF FILM gives you his observations then allows the reader to understand and experience for him/herself. Even better, it's fun.
Don't read this book on the subway, in a coffee shop, or when you're pretending to work at your desk. The giveaway will be your yelped aha's piercing the ambient din.
Suber has sculpted a monumental body of knowledge into an accessible, quickly referenced work that--if it were a film--would haunt you with those epic images and classic dialog that make memorable films part of us all.
Suber knows Film. That means the making, the money, the heartache, but most of all that Film with a capital F is an overarching phenomenon, not merely merchandise. It affects our lives. We live through it; we use it as a touchstone. It is this psychological aspect--the slippery intangibles of our interactions with film--that Suber wrestles with, and wins.
As a psychologist before I was a screenwriter, I was trained to study behavior as a complexity to be approached with respect, the scientific method, an armload of tests to be interpreted and, oh yes, billed for. Tests like the Rorschach are called "projective" for a reason: we supposedly hurl our subconscious fears, desires and emotions onto an ambiguous stimulus--an inkblot that can be a car crash, or mom. Suber applies this to how we fling ourselves onto film. He uses Kuleshov's famous experiment where the actor Mozukhin who stares blankly at the camera was perceived as having specific, strong emotions depending on what images he was intercut with, like a coffin or a bowl of soup or an older woman assumed, baselessly, to be mom. It swiftly makes Suber's case that the audience is an "an active collaborator" in interpreting what is on the screen.
Audiences come to film looking for themselves. Filmmakers and other artists make themselves crazy worrying that the audience is thinking about them. No, the audience is thinking about themselves: their relationships with their families, their lovers, their friends and enemies, all to the extent that the work touches them. So what Suber nudges us to discover is really the bottom line. What makes a film memorable and popular is based on "principles that deal not so much with style and technique as with the psychology of storytelling, which is ultimately the psychology of human beings."
THE POWER OF FILM speaks volumes. It references hunderds of films. It is a book you can dip into and come away awash in aha's. Evocative and provocative, it impels you to think about film in new ways. THE POWER OF FILM is lean, accessible, vivid--like those scenes you carry with you from your favorite films...memorable.
--Roberta Degnore
filmmaker/psychologist
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