Professor Eric R. Williams expands upon his taxonomy by clarifying the difference between Super Genre, Macrogenre and Microgenre, illustrating more than a ten thousand ways to describe a film's genre.
Professor Eric R. Williams interprets the story shapes and rhythms of various films, combining his film genre theory with the ever-present need for tension in a film.
Professor Eric R. Williams proposes a new way to consider theme: a matrix of active/didactic and traditional/non-traditional approaches first identified by Michael Kortlander.
Professor Eric R. Williams acquaints the audience with Bruce Block's foundational concepts of how color, line and shape can be utilized to tell more meaningful stories through film.
Professor Eric R. Williams argues for his two most influential special effects films of the new century while walking us through its first two decades.
Professor Eric R. Williams sings the praises of musical motifs and leitmotifs while demonstrating how music affects the audience both consciously and subconsciously.
Professor Eric R. Williams lays out the idea of personal, private and public masks that all good characters wear while revealing (and hiding) their true motivation.
Professor Eric R. Williams uses the various roles played to Morgan Freeman to demonstrate how an actor might read and interpret a screenplay to find the essence of a character.
Professor Eric R. Williams depicts the various decision points that an actor might make as they consider the changes that a lead character will make through the course of a film.
Professor Eric R. Williams suggests that Carl Jung's ideas of archetypes play a pivotal role in how the audience feels about characters - both good and bad.
Professor Eric R. Williams delineates one storytelling point of view from another through examples from iconic films such as MASH, A Beautiful Mind and Shawshank Redemption.