Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster [Hardcover]

Warren Buckland (Author)

Book Description

Publication Date: May 2, 2006 | ISBN-10: 0826416926 | ISBN-13: 978-0826416926

Although the blockbuster is the most popular and commercially successful type of filmmaking, it has yet to be studied seriously from a formalist standpoint. This is in opposition to classical Hollywood cinema and International Art cinema, whose form has been analyzed and deconstructed in great detail. Directed By Steven Spielberg fills this gap by examining the distinctive form of the blockbuster. The book focuses on Spielberg’s blockbusters, because he is the most consistent and successful director of this type of film – he defines the standard by which other Hollywood blockbusters are judged and compared. But how did Spielberg attain this position? Film critics and scholars generally agree that Spielberg’s blockbusters have a unique look and use visual storytelling techniques to their utmost effectiveness. In this book, Warren Buckland examines Spielberg’s distinct manipulation of film form, and his singular use of stylistic and narrative techniques. The book demonstrates the aesthetic options available to Spielberg, and particularly the choices he makes in structuring his blockbusters. Buckland emphasizes the director’s activity in making a film (particularly such a powerful director as Spielberg), including: visualizing the scene on paper via storyboards; staging and blocking the scene; selecting camera placement and movement; determining the progression or flow of the film from shot to shot; and deciding how to narrate the story to the spectator. Directed By Steven Spielberg combines film studies scholarship with the approach taken by many filmmaking manuals. The unique value of the book lies in its grounding of formal film analysis in filmmaking.

Editorial Reviews

Review

"Buckland offers...a close examination of the filmic structures of Spielberg's blockbusters-from Jaws to War of the Worlds-with practically a shot-by-shot breakdown of some scenes. In deconstructing these films, Buckland uses his own definition of poetics: the activities and techniques involved in constructing a work of art. [H]e is an admirer of Spielberg's and absolves him of the oft-repeated accusation that his production of the 'first' blockbuster (Jaws) ultimately spelled doom for the 'little' movie.... highly enlightening." -- Library Journal, May 15

Mention - Reference & Research Book News, August 2006 (mention )

Mentioned in Today's Books, "Book Register" (Abstract and Index), June 2006

(Today's Books "Book Register" )

"While the other three authors attempt to address the extensive negative critical and review literature on Spielberg...only Buckland feels it necessary to correct all of film studies by inventing a whole new method of analyzing film...Numerous flaws detract from Directed by Steven Spielberg, but I want to focus on the central problem arising from Buckland's methodology and the goals he proposes for it: the disavowal of critical agency. On the level of data collection, using a statistical software package simply does not render findings objective...Moreover, judging by the kinds of information Buckland extracts from his statistical analysis, there seems to be no room for observing or recording factors which cannot be pinned down to individual shots, such as how tone, meaning or performance develops across shots. Presumably, such things are just too subjective and thus anathema to his historical poetics. If this is his position, then he would have been wise to edit out his own clearly subjective responses to Spielberg's films." --Mark Bould, "Nothing Much to phone home about (with exceptions): four books on Spielberg," Science Fiction Film and Television, Vol. 1 No. 2, Autumn 2008

"Buckland offers…a close examination of the filmic structures of Spielberg's blockbusters-from Jaws to War of the Worlds-with practically a shot-by-shot breakdown of some scenes. In deconstructing these films, Buckland uses his own definition of poetics: the activities and techniques involved in constructing a work of art. [H]e is an admirer of Spielberg's and absolves him of the oft-repeated accusation that his production of the 'first’ blockbuster (Jaws) ultimately spelled doom for the 'little’ movie…. highly enlightening.” – Library Journal, May 15

Mention - Reference & Research Book News, August 2006 (, )

Mentioned in Today's Books, "Book Register" (Abstract and Index), June 2006

(, )

“While the other three authors attempt to address the extensive negative critical and review literature on Spielberg…only Buckland feels it necessary to correct all of film studies by inventing a whole new method of analyzing film…Numerous flaws detract from Directed by Steven Spielberg, but I want to focus on the central problem arising from Buckland’s methodology and the goals he proposes for it: the disavowal of critical agency. On the level of data collection, using a statistical software package simply does not render findings objective…Moreover, judging by the kinds of information Buckland extracts from his statistical analysis, there seems to be no room for observing or recording factors which cannot be pinned down to individual shots, such as how tone, meaning or performance develops across shots. Presumably, such things are just too subjective and thus anathema to his historical poetics. If this is his position, then he would have been wise to edit out his own clearly subjective responses to Spielberg’s films.” –Mark Bould, “Nothing Much to phone home about (with exceptions): four books on Spielberg,” Science Fiction Film and Television, Vol. 1 No. 2, Autumn 2008

About the Author

Warren Buckland is author of four previous books: Studying Contemporary American Film (with Thomas Elsaesser); the best-selling Teach Yourself Film Studies; The Cognitive Semiotics of Film; and The Film Spectator. He also edits the journal the New Review of Film and Television Studies.

Product Details

• Hardcover: 256 pages
• Publisher: Continuum (May 2, 2006)
• Language: English
• ISBN-10: 0826416926
• ISBN-13: 978-0826416926
• Product Dimensions: 9.2 x 6.2 x 0.8 inches
• Shipping Weight: 1 pounds
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #4,425,894 in Books (See Top 100 in Books)
  • #53 in Books > Biographies & Memoirs > People, A-Z > ( S ) > Spielberg, Steven

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

4.0 out of 5 stars recommended, but with reservations, May 23, 2008

By 

Bryant Burnette "Bryant Burnette" (Tuscaloosa, AL) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster (Paperback)

Warren Buckland's "Directed by Steven Spielberg" is a welcome addition to the growing shelf of books that take a serious look at the films of Spielberg. His approach is to do a deep analysis of Spielberg's visual style, and he comes up with some fascinating results. It's no news to me that Spielberg's movies are way smarter than a lot of people tend to assume, but Buckland makes a good case for "Jurassic Park," which I'd previously considered to be one of the lesser movies in his career. Buckland is similarly insightful on the subjects of the rest of the movies he covers.

However, I have reservations about certain aspects of the book. For one thing, it's a dry, dry, dry read. This is acdemic writing, and frankly, academics don't know how to write nine times out of ten. Buckland is great at analysis; he's less good at presenting his analysis. Therefore, unless you're a pretty serious Spielberg fan (or a serious film-school student), you're likely to have a hard time making it through some sections of this book.

Secondly, Buckland's concentration on Spielberg's visuals lapses in certain places. Whenever he begins discussing elements of Spielberg's films that he doesn't like, Buckland almost immediately shifts away from visual analysis and toward more traditional criticisms of plot and character, etc. These are quite possibly valid critical arguments, but they are a betrayal of Buckland's intent in writing the book. And quite frankly, a visual analysis of some of these sections might have been useful, even revelatory.

Another issue is with Buckland's analysis of "Poltergeist." He takes a statistical analysis -- a fascinating one, in fact -- of the movie in order to determine who "really" directed the movie. (If you weren't aware, it has long been a Hollywood controversy over whether credited director Tobe Hooper was in fact just a patsy for Spielberg, who has been rumored to have actually done most of the directing himself.) Buckland's findings, surprising even to himself, is that while Spielberg obviously wielded some influence, Hooper was also extremely active in the movie's visuals. This is great stuff, but it seems to settle the controversy in favor of Hooper, and fails utterly to take into account the fact that Spielberg wrote the film (he's credited with "story by," but did an uncredited full rewrite of the final draft of the screenplay). Whether or not he physically directed it, it's a Spielberg movie. To be fair, this is a problem with film criticism at large; the writer of the film is often ignored, and ought not be.

Finally, at the end, there are short analyses of several Spielberg movies not covered in full. One of these is "A.I.," and Buckland opts not to approach the movie's visuals at all. Instead, he offers up the analysis that the majority of the movie is a dream sequence from the point of view of the sick child, sleeping within the cryogenic chamber. This analysis is so poor, so entirely off-base, that it's hard to believe I'm supposed to take it seriously. It's so wrong-headed, in fact, that it calls Buckland's overall credibility somewhat into question. This is a problem coming at the end of an otherwise solid book.

Don't let these problems put you off from buying it if you're a serious Spielberg fan, though. There is a lot to like and appreciate here.