A01=Darren Paul Fisher
academic press
Amour
argument
Author_Darren Paul Fisher
books
Category=ATFA
Category=ATFD
Category=ATFX
Category=CBVS
cinema
cinema history
cinematic
cinematic storytelling
communications
cutural studies
Darren Paul Fisher
directing
direction
Disney
ebook
eq_art-fashion-photography
eq_bestseller
eq_dictionaries-language-reference
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
feature film
feature film storytelling
feature films
feature-length films
Film
film and video
film appreciation
film criticism
film critique
film history
film industry
film production
film secrets
film storytelling
film studies
hardcover
Harrison Ford
how to screenwrite
Indiana Jones
media
media studies
mother!
movie history
movies
non-fiction
nonfiction
paperback
performing arts
Pixar
pop culture
popular culture
producing
production
Raiders
Raiders of the Lost Ark
Rutgers
Rutgers University
Rutgers University Press
Schindler
Schindler's List
screenwriters
screenwriting
screenwriting for film
screenwriting tips
screenwriting tips and tricks
Spielberg
Steven Spielberg
storytelling
Tim Allen
Tom Hanks
Toy Story
Toy Story 3
video
writing
Product details
- ISBN 9781978841147
- Weight: 454g
- Dimensions: 152 x 229mm
- Publication Date: 09 Sep 2025
- Publisher: Rutgers University Press
- Publication City/Country: US
- Product Form: Hardback
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If you’ve picked up this book, it’s most likely that you have an interest in movies over-and-above the typical audience member. Perhaps a screenwriter, producer or director looking to improve your work, always searching for any insight that will result in better cinematic storytelling. If that’s the case, then good news: this is the book for you. It asks a deceptively straightforward question. Why do we make feature films?
Is it to entertain? To move and audience? To tell a powerful story? For fame and fortune?
You may have answered yes to each, but those answers don’t account for the practice overall. Most books about screenwriting and directing are primarily concerned with craft and technique, but how can you truly understand filmmaking – or make the best films - unless you know what purpose it really serves.
So what’s the secret? As the title of this book suggests, making feature films is fundamentally the practice of making a very specific type of argument. To see how this works, we will deep-dive into how filmmakers are trained and taught to think about filmmaking, and what traditions they knowingly or unknowingly follow. We will look at hundreds of films and some major case studies, including Toy Story 3, Schindler’s List, Raiders of the Lost Ark, Amour, and mother!, to explore how and what films argue, and why knowing this can both unlock both a greater appreciation of the form, and improve the impact your films make.
Is it to entertain? To move and audience? To tell a powerful story? For fame and fortune?
You may have answered yes to each, but those answers don’t account for the practice overall. Most books about screenwriting and directing are primarily concerned with craft and technique, but how can you truly understand filmmaking – or make the best films - unless you know what purpose it really serves.
So what’s the secret? As the title of this book suggests, making feature films is fundamentally the practice of making a very specific type of argument. To see how this works, we will deep-dive into how filmmakers are trained and taught to think about filmmaking, and what traditions they knowingly or unknowingly follow. We will look at hundreds of films and some major case studies, including Toy Story 3, Schindler’s List, Raiders of the Lost Ark, Amour, and mother!, to explore how and what films argue, and why knowing this can both unlock both a greater appreciation of the form, and improve the impact your films make.
Darren Paul Fisher is an international multi-award-winning screenwriter, director, producer, and head of film, screen and creative media at Bond University, Australia.
