FILMTERM: FILMIKUNSTI TERMINIBAAS inglise - eesti - soome - läti - portugali - prantsuse 1267 terminit
Allikad (Terminid, Definitsioonid, Pildid, Näited)
1. Abrams, M. H. & Harpham, G. G. (2012). A Glossary of Literary Terms, Tenth Edition. Boston, MA: Wadsworth, Cengage learning. (0, 4, 0, 0)
2. Alberstat, Philip (2004). The Insider’s Guide to Film Finance. Focal Press. (0, 1, 0, 0)
3. Austin Community College. (2014). Glossary. Retrieved 2017, November 28, from http://www2.austincc.edu/sbramme2/Glossary.htm (0, 15, 0, 0)
4. BFI Screenonline. (2014). Glossary. Retrieved 2017, November 28, from http://www.screenonline.org.uk/education/glossary.html (0, 2, 0, 0)
5. Bal, M. (2009). Narratology: Introduction to the Theory of Narrative. Toronto; Buffalo; London: University of Toronto Press. (0, 0, 0, 0)
6. Baldick, C. (2001). The Concise Oxford Dictionary of Literary Terms. New York, NY: Oxford University Press Inc. (0, 6, 0, 0)
7. Barnwell, Robert G. (2018). Guerilla Film Marketing. Focal Press, Routledge, New York: Tyler&Francis. (0, 6, 0, 0)
8. Barthes, R. (1966). Introduction à l’analyse structurale des récits. Communications 8, 1–27. (0, 0, 0, 0)
9. Bordwell, David: Principles of narration. In: Philip Simpson ... [et al.] (eds.): Film theory: critical concepts in media and cultural studies. Vol. 2. London [etc.]: Routledge, 2004, 5. 245-267. [Ursprünglich in: David Bordwell: Narration in the fiction (0, 1, 0, 0)
10. Browne, Steven E. (2007). High Definition Postproduction: Editing and Delivering HD Video. Focal Press, Elsevier. (0, 0, 0, 0)
11. Burgoyne, S., & Downey, P. (2012). Thinking Through Script Analysis. Newburyport, MA: Focus Publishing, pp. 207-212. (0, 8, 0, 0)
12. Chatman, S. (1990) Coming to Terms: the rhetoric of narrative in fiction and film. Ithaca, NY: Cornell University Press. (0, 0, 0, 0)
13. Costello, J. (2004). Writing a Screenplay. Harpenden, UK: Pocket Essentials, pp. 157-160. (0, 3, 0, 0)
14. Cuddon, J. A. (1999). Penguin Dictionary of Literary Terms and Literary Theory. Harmondsworth, UK: Penguin Books. (0, 0, 0, 0)
15. Dancyger, K & Rush, J. (2013). Alternative scriptwriting: beyond the Hollywood formula. Burlington, MA: Focal Press. (0, 0, 0, 0)
16. Dictionary of Media Studies (2006). London: A & C Black. (0, 0, 0, 0)
17. Dictionary.com (0, 1, 0, 0)
18. Dirks, Tim (2019). Film Terms Glossary Illustrated. AMC Filmsite. https://www.filmsite.org/filmterms.html (retrieved 26.01.2019) (0, 3, 0, 0)
19. Donaldson, Michael C. ; Callif, Lisa A. (2014). Clearance & Copyright (4th edition). Silman-James Press. (0, 8, 0, 0)
20. Egri, L. (1960). The art of dramatic writing: its basis in the creative interpretation of human motives. New York, NY: Simon and Schuster. (0, 0, 0, 0)
21. FIAF (2019). International Federation of Film Archives. Glossary of Filmographic Terms. (0, 1, 0, 0)
22. FILMTERM. Tallinna Ülikooli Balti filmi, meedia, kunstide ja kommunikatsiooni instituudi filmikunsti terminikomisjon. Veiko Vaatmann, Elen Lotman, Margit Keerdo-Dawson, Jaak Lõhmus, Greta Varts, Margit Maran, Kristiina Davidjants, Hagi Šein (0, 14, 0, 0)
23. Field, S. (1984). Screenplay: the foundations of screenwriting. New York, NY: Bantam Dell. (0, 3, 0, 0)
24. Film-North (2009). Glossary. Retrieved 2017, November 28, from http://afronord.tripod.com/glossary.html (0, 4, 0, 0)
25. Fludernik, M. (2009). An Introduction to Narratology. London; New York: Routledge. (0, 1, 0, 0)
26. Friedmann, J., & Walker, C. (2012). The Insider's Guide to Writing for Television. Richmond, UK: Trotman, pp. 261-270. (0, 2, 0, 0)
27. Golden, L. (1973). The Purgation Theory of Catharsis. The Journal of Aesthetics and Art Criticism, 31(4), pp. 473-479. DOI: 10.2307/429320 (0, 0, 0, 0)
28. Griffiths, K. (2015). The Art of Script Editing: A Practical Guide to Script Development. Harpenden, UK: Kamera Books, lk.180-206. (0, 37, 0, 2)
29. Grove, E. (2009). Raindance Writers' Lab: Write + Sell the Hot Screenplay. Oxford, UK; Burlington, MA: Focal Press, pp. 251-258. (0, 8, 0, 0)
30. Gulino, P. J. (2004). Screenwriting: The Sequence Approach. New York, NY; London, UK: Continuum. (0, 0, 0, 0)
31. Haddad, M. (2005). The Screenwriter’s Sourcebook: A Comprehensive Marketing Guide for Screen and Television Writers. Chicago, IL: Chicago Review Press, pp. 339-344. (0, 3, 0, 0)
32. Herman, D. (2009). Basic Elements of Narrative. Chichester, U.K.; Malden, MA: Wiley-Blackwell. (0, 16, 0, 0)
33. Hiltunen, A. (2002). Aristotle in Hollywood: The Anatomy of Successful Storytelling. Bristol, UK: Intellect Books. (0, 3, 0, 0)
34. Honthaner, Eve Light (2010). The Complete Film Production Handbook (Fourth Edition). Focal Press, Elsevier INC. (0, 11, 0, 0)
35. Howard, D & Mabley, E. (1993). The Tools of Screenwriting: A Writer's Guide to the Craft and Elements of a Screenplay. New York, NY: St Martin's Press. (0, 3, 0, 0)
36. Hühn, P. (2011). Event and Eventfulness, Paragraph 1. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/event-and-eventfulness (0, 0, 0, 0)
37. Iglesias, K. (2005). Writing for Emotional Impact: Advanced Dramatic Techniques to Attract, Engage, and Fascinate the Reader from Beginning to End. Livermore, CA: WingSpan Press. (0, 3, 0, 0)
38. International Screenwriters' Association. (2017) Guides & Resources. Glossary for Screenwriting Terms. Retrieved 2017, November 28, from https://www.networkisa.org/links-resources-type.php?id=20 (0, 9, 0, 0)
39. Jack, Keith; Tsatsulin, Vladimir (2002). Dictionary of Video and Television Technology. Elsevier Science (USA). (0, 0, 0, 0)
40. James, L. M. (2009). How to Write Great Screenplays and get them into Production. Oxford, UK: How To Books, pp. 177-184. (0, 9, 0, 0)
41. Kellison, Cathrine (2006). Producing for TV and Video A Real-World Approach. Focal Press. (0, 16, 0, 0)
42. Laszlo, Andrew (2000). Every Frame a Rembrandt Art and Practice of Cinematography. Focal Press, Elsevier. (0, 0, 0, 0)
43. Lavandier, Y. (2005). Writing Drama: A Comprehensive Guide for Playwrights and Scriptwriters. France; Le Clown & L'enfant. lk. 533-547. (0, 34, 0, 0)
44. LoBrutto, Vincent (2002). The filmmaker’s guide to production design. New York: Allworth Press. (0, 2, 0, 0)
45. Lothe, J. (2000). Narrative in Fiction and Film: An Introduction. New York, Ny: Oxford University Press. (0, 0, 0, 0)
46. Mamer, Bruce (2009). Film Production Technique: Creating the Accomplished Image, Fifth Edition. Wadsworth, a part of Cengage Learning. (0, 2, 0, 0)
47. Maran, Margit (2007). Filmiterminid ajakirjas (0, 2, 0, 0)
48. Margolin, U. (2012). Narrator. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narrator (0, 0, 0, 0)
49. Marich, Robert (2013). Marketing to moviegoers. Southern Illinois University Press/ Carbondale and Edwardsville. (0, 7, 0, 0)
50. Marks, D. (2009). Inside Story: The Power of the Transformational Arc: The Secret to Crafting Extraordinary Screenplays (Professional Media Practice). London, UK: A & C Black Publishers Ltd., pp. 329-334. (0, 5, 0, 0)
51. McKee, R. (1997). Story: Substance, Structure, Syle, and the Principles of Screenwriting. New York, NY: HarperCollins. (0, 0, 0, 0)
52. Meister, C. J. (2011). Narratology. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narratology (0, 1, 0, 0)
53. Merilai, Arne; Saro, Anneli; Annus, Epp (2003). Poeetika. Gümnaasiumiõpik. Tartu: Tartu Ülikooli kirjastus. (0, 2, 0, 0)
54. Niederhoff, B. (2011). Focalization. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/focalization (0, 0, 0, 0)
55. Pavis, Patrice; Shantz, Christine (1999). Dictionary of the Theatre: Terms, Concepts, and Analysis. University of Toronto Press, Scholarly Publishing Division. (0, 1, 0, 0)
56. Pier, J. (2011a). Narrative Levels. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narrative-levels-revised-version-uploaded-23-april-2 (0, 1, 0, 0)
57. Pier, J. (2011b). Metalepsis. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/metalepsis-revised-version-uploaded-13-july-2016 (0, 0, 0, 0)
58. Prince, G. (1971). Notes toward a Characterization of Fictional Narratees. Genre 4, 100–05. Artikli vormistus (0, 0, 0, 0)
59. Prince, G. (1987). A Dictionary of Narratology. Lincoln; London: University of Nebraska Press. (0, 7, 0, 0)
60. Prince, G. (2011). Reader. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/reader (0, 1, 0, 0)
61. Rabiger, Michael (2008). Directing Film Techniques and Aesthettics [Fourth Edition]. Focal Press, Elsevier. (0, 1, 0, 0)
62. Rahmel, Dan (2004). Nuts and Bolts Filmmaking Practical Techniques for the Guerilla Filmmaker. Focal Press, Elsevier. (0, 0, 0, 0)
63. Reeve, J. (2008). Understanding Motivation and Emotion. Hoboken, NJ: Wiley. (0, 2, 0, 0)
64. Riley, C. (2005). The Hollywood Standard. The Complete and Authoritative Guide to Script Format and Style. Studio City, CA: Michael Wiese Productions. (0, 5, 0, 0)
65. Rizzo, Michael (2005). The Art Direction Handbook for Film. Focal Press, Elsevier (0, 0, 0, 0)
66. Schmid, W. (2013a). Implied Author. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/implied-author-revised-version-uploaded-26-january-2 (0, 0, 0, 0)
67. Schmid, W. (2013b). Implied Reader. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/implied-reader (0, 0, 0, 0)
68. Schmid, W. (2013c). Narratee. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narratee (0, 0, 0, 0)
69. Schönert, J. (2011). Author. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/author (0, 0, 0, 0)
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72. Sherborne, M. (2005). Nineteen Eighty-Four: York Notes Advanced. London: Longman, York Press. (0, 3, 0, 0)
73. Simon, Mark (2007). Storyboards, Motion in Art [Third Edition]. Focal Press, Elsevier. (0, 5, 0, 0)
74. Snyder, B. (2005). Save the Cat!: The Last Book on Screenwriting You'll Ever Need. Studio City, CA: Michael Wiese Productions. (0, 0, 0, 0)
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76. Tapply, W. G. (2000). The Elements of Mystery Fiction. Scottsdale, AZ: Poisoned Pen Press. (0, 0, 0, 0)
77. Tierno, M. (2002). Aristotle's Poetics for screenwriters: storytelling secrets from the greatest mind in western civilization. koht: Hachette Books. (0, 0, 0, 0)
78. Truby, J. (2007). The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. New York, NY: Faber and Faber. (0, 3, 0, 0)
79. Truffaut, F. (1983). Hitchcock. Dialogue between Truffaut and Hitchcock. New York: Simon & Schuster, Inc. (0, 0, 0, 0)
80. Uva, Michael G. (2014). The Grip Book [Fift Edition]. New York, London: Focal Press. (0, 4, 0, 0)
81. Vogler, C. (2007). The Writer's Journey: Mythic Structure for Writers. Studio City, CA: Michael Wiese Productions. (0, 5, 0, 0)
82. WGGB (2009). Writing Film: A Good Practice Guide. London, UK: Writers' Guild of Great Britain. Retrieved 2017, December 13, from https://writersguild.org.uk/wp-content/uploads/2015/02/WG_film_Oct09_LR.pdf (0, 3, 0, 0)
83. Wales, Lorene M. (2017). The Complete Film and digital Production (Third Edition). Focal Press, Routledge. (0, 49, 0, 0)
84. eForeword (2002). In: Forster E. M. Aspects of the Novel. RosettaBooks, LLC. (0, 2, 0, 0)
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