ABSTRACT

This book has presented some of the basic rules of visual grammar in fi lmmaking, defi ned a number of different shot types, and offered some basic working practices. None of this material is carved in stone and much of it is open to interpretation. Different people may call things by different names or choose to approach things in slightly different ways. Elaboration, experimentation, and blatant subversion have given rise to many new and interesting approaches to creating and conveying entertainment and information over the years. However, no matter what the technology or what the material to be presented, at the bottom of all the innovation would still lie the basic guidelines of globally accepted visual communication and cinematic language.