Role of Director's Philosophical Approach in Cinematographic Expression
The original idea for a feature film may come from a
writer, director or a producer. Director is the person responsible for
the creative aspects, both interpretive and technical, of a motion
picture production in a film. Director may be shot discussing his
project with his or her cowriters, members of production staff, and
producer, and director may be shown selecting locales or
constructing sets. All these activities provide, of course, ways of
externalizing director-s ideas about the film. A director sometimes
pushes both the film image and techniques of narration to new artistic
limits, but main responsibility of director is take the spectator to an
original opinion in his philosophical approach. Director tries to find
an artistic angle in every scene and change screenplay into an
effective story and sets his film on a spiritual and philosophical base.
[1] G. Dasgupta, The director as thinker: Carmelo Bene-s Otello.
Performing Arts Journal 9 (1), 1985, pp.12-16.
[2] C. S. Tashiro, The ÔÇÿtwilight- zone of contemporary Hollywood
production. Cinema Journal 41 (3), 2002, pp.27-37.
[3] E. J. Hicks, The Law of Attraction, 2008, Istanbul: Butik.
[4] G. Kouvaros, "The misfits": what happened around the camera. Film
Quarterly 55 (4), 2002, pp. 28-33.
[5] S. Cereci, Story of Image from Cave to Screen. Ankara: Nobel.
[6] E. Katz, The Film Encyclopedia, 1994, NewYork: HarperPerennial
[7] J. Morrison, Hitchcock-s notebooks: an authorized and illustrated look
inside the creativemind of Alfred Hitchcock by Dan Auiler. Film
Quarterly 55 (1), 2001, pp. 62-64.
[8] J. E. Lynch, The case history of a live tv drama. The Quarterly of Film,
Radio and Television 11 (1), 1956, pp. 83-93.
[9] I. Pichel, Films for television. Hollywood Quarterly 5 (4), 1951, pp. 363-
372.
[10] J. C. Stubbs, Fellini-s portrait of the artist as creative problem solver.
Cinema Journal 41 (4), 2002, pp. 116-131.
[11] F. Guerin, Dazzled by the light: technogical entertainment and its social
impact in ÔÇÿVariete-". Cinema Journal 42 (4), 2003, 98-115.
[12] F. P. Tomasulo, Theory to practice: integrating cinema theory and film
production. Cinema Journal 36 (3), 1997, pp. 113-117.
[13] D. Chin, As time goes by: the century of cinema. Performing Arts
Journal 18 (3), 1996, pp. 26-40.
[14] G. M Smith, It-s just a movie: a teaching essay for introductory media
classes. Cinema Journal 41 (1), 2001, pp. 127-134.
[15] S. Llewellyn and S. Walker, A Career Handbook for Tv, Radio, Film,
Video & Interactive Media. Second Edition. 2005, London: A&C Black.
[16] G. P. Falkenber, The editor-s role in film making. Cinema Journal 28
(2), 1967, pp. 22-28.
[17] G. Werner, A method of reconstructing lost films. Cinema Journal 14.
(2), 1974, pp. 11,15.
[18] D. H. Shepard, Film study and filmmakers. Cinema Journal 24, 1985, pp.
43-47.
[19] S. Cereci, Television Program Production. Istanbul: Metropol, 2001.
[20] J. Sayles, Thinking in Pictures. Boston: Houghton Mifflin Company,
1987.
[21] P. Coates, Kieslowski and the antipolitics of color: a reading of the
"three colors" Triology. Cinema Journal 41 (2), 2002, pp. 41-66.
[22] P. Barnes, The director on horseback. The Quarterly of Film Radio and
Television 10 (3), 1956, pp. 281-287.
[23] C. Celli, The legacy of Mario Camerini in Vittorio De Sica-s Bicycle
Thief (1948). Cinema Journal 40 (4), 2001, pp. 3-7.
[24] D. Chin, The film that we wanted to live: re-releasing modernist movies.
A Journal of Performance and Art 23 (3), 2001, pp. 1-12.
[25] W. D. Baker, Film as sharpener of perception. College Composition and
Communication 15. (1), 1964, pp. 44-45.
[26] M. Landy and L. Fischer, -Dead again- or a live again: postmodern or
postmortem?. Cinema Journal 33 (4), 1994, pp. 3-22.
[27] S. Zebba, Casting and directing in primiteve societies. The Quarterly of
Film, Radio and Television 11 (2), 1956, pp. 154-166.
[1] G. Dasgupta, The director as thinker: Carmelo Bene-s Otello.
Performing Arts Journal 9 (1), 1985, pp.12-16.
[2] C. S. Tashiro, The ÔÇÿtwilight- zone of contemporary Hollywood
production. Cinema Journal 41 (3), 2002, pp.27-37.
[3] E. J. Hicks, The Law of Attraction, 2008, Istanbul: Butik.
[4] G. Kouvaros, "The misfits": what happened around the camera. Film
Quarterly 55 (4), 2002, pp. 28-33.
[5] S. Cereci, Story of Image from Cave to Screen. Ankara: Nobel.
[6] E. Katz, The Film Encyclopedia, 1994, NewYork: HarperPerennial
[7] J. Morrison, Hitchcock-s notebooks: an authorized and illustrated look
inside the creativemind of Alfred Hitchcock by Dan Auiler. Film
Quarterly 55 (1), 2001, pp. 62-64.
[8] J. E. Lynch, The case history of a live tv drama. The Quarterly of Film,
Radio and Television 11 (1), 1956, pp. 83-93.
[9] I. Pichel, Films for television. Hollywood Quarterly 5 (4), 1951, pp. 363-
372.
[10] J. C. Stubbs, Fellini-s portrait of the artist as creative problem solver.
Cinema Journal 41 (4), 2002, pp. 116-131.
[11] F. Guerin, Dazzled by the light: technogical entertainment and its social
impact in ÔÇÿVariete-". Cinema Journal 42 (4), 2003, 98-115.
[12] F. P. Tomasulo, Theory to practice: integrating cinema theory and film
production. Cinema Journal 36 (3), 1997, pp. 113-117.
[13] D. Chin, As time goes by: the century of cinema. Performing Arts
Journal 18 (3), 1996, pp. 26-40.
[14] G. M Smith, It-s just a movie: a teaching essay for introductory media
classes. Cinema Journal 41 (1), 2001, pp. 127-134.
[15] S. Llewellyn and S. Walker, A Career Handbook for Tv, Radio, Film,
Video & Interactive Media. Second Edition. 2005, London: A&C Black.
[16] G. P. Falkenber, The editor-s role in film making. Cinema Journal 28
(2), 1967, pp. 22-28.
[17] G. Werner, A method of reconstructing lost films. Cinema Journal 14.
(2), 1974, pp. 11,15.
[18] D. H. Shepard, Film study and filmmakers. Cinema Journal 24, 1985, pp.
43-47.
[19] S. Cereci, Television Program Production. Istanbul: Metropol, 2001.
[20] J. Sayles, Thinking in Pictures. Boston: Houghton Mifflin Company,
1987.
[21] P. Coates, Kieslowski and the antipolitics of color: a reading of the
"three colors" Triology. Cinema Journal 41 (2), 2002, pp. 41-66.
[22] P. Barnes, The director on horseback. The Quarterly of Film Radio and
Television 10 (3), 1956, pp. 281-287.
[23] C. Celli, The legacy of Mario Camerini in Vittorio De Sica-s Bicycle
Thief (1948). Cinema Journal 40 (4), 2001, pp. 3-7.
[24] D. Chin, The film that we wanted to live: re-releasing modernist movies.
A Journal of Performance and Art 23 (3), 2001, pp. 1-12.
[25] W. D. Baker, Film as sharpener of perception. College Composition and
Communication 15. (1), 1964, pp. 44-45.
[26] M. Landy and L. Fischer, -Dead again- or a live again: postmodern or
postmortem?. Cinema Journal 33 (4), 1994, pp. 3-22.
[27] S. Zebba, Casting and directing in primiteve societies. The Quarterly of
Film, Radio and Television 11 (2), 1956, pp. 154-166.
@article{"International Journal of Business, Human and Social Sciences:52753", author = "Sedat Cereci", title = "Role of Director's Philosophical Approach in Cinematographic Expression", abstract = "The original idea for a feature film may come from a
writer, director or a producer. Director is the person responsible for
the creative aspects, both interpretive and technical, of a motion
picture production in a film. Director may be shot discussing his
project with his or her cowriters, members of production staff, and
producer, and director may be shown selecting locales or
constructing sets. All these activities provide, of course, ways of
externalizing director-s ideas about the film. A director sometimes
pushes both the film image and techniques of narration to new artistic
limits, but main responsibility of director is take the spectator to an
original opinion in his philosophical approach. Director tries to find
an artistic angle in every scene and change screenplay into an
effective story and sets his film on a spiritual and philosophical base.", keywords = "Director, role, film, approach, opinion.", volume = "7", number = "4", pages = "882-5", }
