Cinematic Storytelling Bibliography
Cinematic storytelling has much in common with literature and the many arts that cinema draws from, however, in the end, it’s essentially its own, unique way of telling stories. These books, taken together, provide an excellent course of study in the fine art of cinematic storytelling. Regardless of your role in filmmaking: directing, writing, editing, cinematography, etc., it’s important to understand the language and grammar of cinema, and with that goal in mind, this bibliography was created. Writing is at the foundation of cinematic storytelling. See also my Digital Filmmaking Bibliography.
Poetics I by Aristotle, translated by Richard Janko (Hackett Publishing Company, 1987)
Aristotle was the first critic and judge of drama and his work remains fresh and relevant today, a must read for anyone seriously interested in drama. Follow this up with Campbell for a very complete foundation.
The Hero with a Thousand Faces by Joseph Campbell (Princeton University Press, 1972)
According to Campbell, myth is the projection of a culture’s dreams and ideals into a story. Many stories follow a pattern describes as the “The Hero’s Journey” in which the protagonist experiences the call to adventure, refusing the call, finding a mentor, encountering threshold guardians, crossing the threshold, facing the worst evil, and finally winning the elixir. This is the structure of many classic western myths as well as modern day films, with Star Wars being one of the most popular examples (Lucas based on the film on Campbell’s ideas).
The Art of Dramatic Writing by Lajos Egri (Touchstone, 1972)
The best dramatic writing is based on people and their relationships, which give energy to the story and serves to move the plot forward. Unlike most other books, Egri offers an excellent treatment of this topic.
Making a Good Script Great by Linda Seger (2nd Edition, Samuel French Trade, 1994)
No book can teach you to write a screenplay, but this book can help you understand some of what’s required to write a great script: especially characterization and structure, two essential elements that are essential for a great script.
Aristotle’s Poetics for Screenwriters by Michael Tierno (Hyperion, 2002)
Does a nice job of explaining the important concepts from Aristotle’s Poetics and applying the concepts to modern films including Angel Heart, Citizen Kane and Pulp Fiction. The Poetics might be hard to read and understand on a single read, however, this little gem cuts to the chase and delivers the essence of Aristotle’s wisdom in 167 fun to read pages.
The Writers Journey by Christopher Vogler (2nd Edition, Michael Wiese Productions, 1998)
For people interested in Campbell’s ideas, but find his book hard to read, Vogler provides a more accessible explanation of “The Hero’s Journey” applied directly to the task of writing and evaluating screenplays.
Screenplay by Syd Field (Revised Edition, Delta, 2005)
The classic book on the screenplay. Weak on characterization, for that you must turn to Egri’s The Art of Dramatic Writing.
Elements of Style for Screenwriters by Paul Argentini (1998, Lone Eagle Publishing)
A good reference covering screenplay format, structure, and style.
Stealing Fire From The Gods by James Bonnet (2nd Edition, Michael Wiese Productions, 2006)
Bonnet argues that stories are designed to guide us to our full potential as human beings and are necessary to our psychological well-being. He introduces a model which is built upon the foundations of Campbell’s Hero’s Journey and Arisototle’s Poeticsbut unlike the structural and character-oriented approach of these models, Bonnet suggests we look deeper at the psychological models embedded within great stories. A provocative and interesting synthesis of story models and theories.
Crafting Short Screenplays That Connect by Claudia Hunter Johnson (Focal Press, 2000)
A delightful change of place, this book is about writing short screenplays rather than full-length screenplays and advocates a balance between the connections between people and dramatic conflict as the key to writing compelling short screenplays.
Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know by Jennifer Van Sijll (Michael Wiese Productions, 2005)
This book challenges the notion of writing as limited to character, structure, and plot and provides a foundation for the understanding of cinematic literacy, as important as reading and writing with words. Writers play a more important role in the visualization of cinematic stories than the “Auteur Theory” has given them credit for, and there is a trend towards greater appreciation of the role of the writer not just in the crafting the story, but in how the story is visualized. This book essentially teaches you how to write visually without the director thinking you’re telling them how to do their job.
On Stories by Richard Kearney (Routledge, 2001)
Kearney considers how our national identity can emerge from stories and examines the hidden agenda of stories in the antagonism between Britain and Ireland, and how stories of alienation in film such as Aliens and Men in Black reveal disturbing narratives at work in projections of North American national identity.
Special thanks to Chris Boebel for his contribution to this bibliography.
