Provides an annotated filmography of films that present the hazards of smoking. (TJ)

Suggests American screenwriters experiment with the lighting, colors, perspectives, angles, and positioning of images in works of art to generate narrative. Argues that American screenwriters, unlike European counterparts, unnecessarily adhere to the concept that characterization is essential to generate narrative. (KEH)

Examines similarities and differences between writing short, live-action narrative films and writing feature films. Examines market influence, budget, structure, and story factors. Describes useful procedures for inclusion in a scriptwriting class. (KEH)

In this essay, the author discusses her experiences in creating her film about Hawai'i Creole. She shares how she chronicles the essence of local life in the film through Pidgin. She also discusses how she came to understand the power of Pidgin, its centrality in people's lives, and its place in defining the uniqueness of Hawai'i. As the author…

In this article, the author shares how his dissatisfaction with religion textbooks led him to use novels as texts for his religion classes. Among the novels that he used were "To A God Unknown" by John Steinbeck, "The Stranger" by Albert Camus, "A Burnt-Out Case" by Graham Greene, "A Canticle for Leibowitz" by Walter M. Miller, Jr., and "Franny…

"The Invention of Hugo Cabret" is a story about Georges Melies that the author began thinking about over 15 years ago and took about two-and-a-half years to complete. The book is about a boy named Hugo Cabret, an orphan living secretly in the walls of a train station in Paris who becomes involved in a mystery that ties him together with a mean old…

"Crash" (P. Haggis, 2004) depicts the intersection of race, ethnicity, religion, and social class in a culturally and politically charged environment. The result is a film that places the viewer in situations that are void of simple right and wrong solutions. The authors describe an experiential learning activity that is based on using "Crash" to…

Stories of people killing people are a central part of culture and contain profound statements about important human issues. Senseless killings are particularly problematic. The long history of senseless killings in movies leads up to the 2007 movie, No Country for Old Men, in which senselessness has been raised to a peak. Although it is not a…

Studio D of the National Film Board of Canada, a women's film making unit established to make films by, for, and about women, has created a group of five films that effectively develop the argument that women can and must join the effort to bring peace to a nuclear world. The first of these peace films, "If You Love This Planet,"…

Written by filmmakers with five years experience as part of a cooperative for the distribution of feminist films, this handbook is designed primarily to instruct filmmakers on how to distribute their films and to assess whether self-distribution is advisable. Mainly non-theatrical use of 16mm films is discussed, with emphasis on educational…

Many feature length films and films made for television are adaptable to classroom use, especially in the arts, humanities, and social sciences, and students may accept a well-produced film (even if it is older) more readily than an inexpensively produced educational film. This booklet discusses how animated films, narrative feature films,…

"Understanding Film," the opening section of this book, discusses perceptions of and responses to film and the way in which experiences with and knowledge of other media affect film viewing. The second section, "Film Elements," analyzes the basic elements of film: the use of space and time, the impact of editing, sound and color, and the effects…

The stress given to film directors and stars in current academic cinema studies unjustifiably ignores the artistic contributions of cinematographers. Frequently, cinematographers are responsible for much of the artistic expression and inventiveness in films. Although determination of the extent of the cinematographer's contribution is difficult,…

The thesis of this classic, the major part of which was originally published in 1933, is that the peculiar virtues of film as art derive from an exploitation of the limitations of the medium: the absence of sound, the absence of color, the lack of three-dimensional depth. Silent-film artists made virtues of these necessities and were on their way…