For those of you who didn't read my last column, it was about the art of watching film. I have been asked too and decided to expand on that and write about the art of film itself. All film, i.e. motion picture, is an art form first. Film is considered the most expensive art form. With the invention and then access of video cameras to the general public it was predicted that more and more film artists would evolve. Now with the advantage of digital cameras and personal computers it is relatively easy for the amateur, quasi "independent film maker" to edit by adding special effects, sound (looping) and music. Many a motion picture director or producer got started this way.

But what truly is the art of film? Is it the making or the finished product? True, an artist with an artist's intent can make film, but the real art form is the produced film itself. Some independent film artists have actually scratched or dyed the film itself to add to the viewing experience.

A motion picture is just that, a picture that moves or is in motion. Alfred Hitchcock believed that the story should be told on the film and not by the added dialogue. He intently directed his motion pictures so that the audience would be able to understand the story without dialogue. If you cannot follow the story without the dialogue, why go to the trouble of making a motion picture about it? For this reason all films have a "montage". A "montage" is a series of several scenes used to bridge different events or eras where there is no dialogue, just action. A good example of this is to watch a commercial muted. The difference between a good commercial and a poor one is a commercial that tells the story through the visuals. Another example is when you go to a sub-titled film, chances are if it is a well-crafted story, after a while you don't even read the sub-titles and just follow the story visually.

A well-crafted story relies on a well-written screenplay. A screenplay contains the location, the action or direction the character is taking, the camera angle, the dialogue and the intent with which the dialogue is delivered. There are generally three acts, sometimes a prologue can take place of an act or is used during the titles or credits. Within each act are generally three more acts. A technique used to keep the viewers interest is a story peak or action peak at the end of the first and second act. Within the first act you have the establishing scenes. These scenes inform the viewer as to where the story derived from or the background of the story. In a linear story the film goes from a to b to c. Films are never shot this way; they must be edited to follow the story. In an abstract story the film can begin anywhere. Then with the use of flashbacks the story is revealed. It is more difficult to write an abstract story because unless there are distinct changes in the location or character the viewing audience can get lost. A film that begins at the end is called "media enrai". This is when the viewer follows how the characters got to where they are when the story ends, "SUNSET BOULEVARD" is a perfect example. A narrative story is just that, a story with someone telling the viewer parts of the story that cannot be portrayed, the psychology or just eluding to what is going to happen next. A narrative voice can be used for any kind of story but is always a character. It can be the main character or someone who is observing.

Each screenplay has a protagonist that helps distinguish the conflict. The protagonist is not the main character. The main character always goes through a character arch. They start off one way and end another. This is how empathy is derived for the villain in monster films. There is a reason the monster is the way he is and usually they are victims of society.

The "artist" of the motion picture is the director. The director sets the tone, the design and style of the picture. Some directors insist on having the original writer on set. Then they can ask the writer to articulate exactly what they had in mind when writing the scene. Others prefer to interpret the screenplay their own way in their own style. Then a different writer is brought aboard to work on the screenplay as it is shot that can enhance the director's style. That writer is called a "script doctor" and doesn't usually get the screenwriting credit. If you ever get a chance to read the original screenplay you will see that more often or not there is only a basic resemblance. The screenplays that are sold to the public are the "shooting script" and therefore verbatim of what you saw on the screen.

The director works very closely with the production designer to set the style of the film. This is different than the style of the director. Then the other counterparts of the film are used to enhance the style, the lighting, music, costume design and set design. These can either enhance the director's style or the style of the film.

Light and sound play a crucial role to the film. Way back when cameras were cumbersome, there needed light to expose the film itself. If you watch an old western look carefully and you can tell that the night scenes were really shot during the day by using a filter over the lens. You can tell by catching a glimmer or sun spot reflection. Lenses are also used to change the mental perception of a scene by enhancing a color, a blue filter to denote depression, or a red filter to denote bawdiness, or black and white to color. Your eye doesn't necessarily detect the change, but your mind registers it. The famous "film noir" movies are always darker and less "lit" than their counterparts in that era. This is actually because they were "B" movies and because of the cost they had to use less lighting. Therefore they were darker which coincided with their dark story line. Now we have "A" level movies that are stylized to be "film noir". Sometimes light is used to highlight "goodness". Stanley Kubrick tricked us by making his horror film bright. Nothing bad was ever supposed to happen in daylight or bright light.

Lastly but not least, each film has an inner rhythm or beat that is enhanced by music. This rhythm, beat or syncopation is not detectable unless you are listening for it. The next time you watch a war movie, listen to the way the soldiers march. Listen for clues to set the tone of the film. Francis Ford Coppola used sound masterfully in "APOLCOLYPSE NOW" by using the sound of the helicopter blades. Judy Taymor used it wonderfully in "TITUS".

Films and movies, play a great part in our lives whether we realize it or not. We are all influenced either by the styles of design, including clothing or hair, by the music or by the story itself and how it resonates with us. Art is subjective in all mediums, and thank goodness for that. While it would be hard pressed and perhaps not wanting of most of us to have a favorite film looping over and over again in our home, it is always pleasurable to look at a favorite painting, print or photograph. So go out and get something that really turns you on. Then hang it some place and enjoy it.