Are there some guys who have read these books?

I haven't read those two, but I have read other books by Field and Mckee, and I believe both authors are considered to be experts in the field. Another one I read was 'The Art of Dramatic Writing' by Egri, which is a book on playwriting, but many of the same principles apply.

ETA: one that I've heard people swear by is 'Save The Cat' by Snyder, though I haven't read it myself.

Disclaimer: I've written two screenplays, but never sold one.

'Cinematic knowledge'? Maybe you can clarify what you have in mind by the use of this phrase. I'm just wondering.

It sounds like you want to somehow be involved in movie-making. That is a very fine ambition, of course.

But I would tentatively suggest that the knowledge you need to support such a goal, can't be acquired from just one kind of effort. For example, the reading of books. You have to exert yourself in many different ways if (as I'm presuming from your posts) you really wish to write scripts and get paid for them.

In other countries, the situation may be different. But right now in America such daydreams usually equates to a very heart-breaking, fruitless, rarely-successful expenditure of energy.

It was always hard to get a break in this field, but lately it has become almost impossible for an 'unknown' to get even one script sold or produced. As for becoming a 'working' screenwriter (making a career out of such writing) the chances are astronomically remote.

I'm digressing. Just trying to convey this one idea: if you want to work in film (as a professional), you have to attack that goal like a demon. It can't be done just by reading books. You have to scramble like a hellion. Attend a film school. Work on indie films. Acquire technical know-how; (and by that I mean 'hands on' technical-know-how). Network like crazy. Develop industry contacts. Build up a resume. Be the master of every aspect of filmmaking. Be able to write effortlessly, swiftly, and in high quantities. You have to live, eat, sleep, eat, and breathe cinema. That's what I think of when I see your mention of 'cinematic knowledge'.

Film is a highly competitive, highly frustrating industry that actively repels outsiders. You work your way up a very long ladder just to get your toe in the door at all. Most aspirants drop out and never get anywhere.

Let's say you do find a niche--some job or position which pays your rent & utilities, and it is connected to filmmaking in some way--and it may even be 'close to' where the big boys make the greenlight decisions. This doesn't mean anything you write of your own will be accepted. It sure doesn't mean you will ever get a six figure paycheck. It certainly doesn't mean you will ever be famous. There are droves of career screenwriters who slave away in obscurity, in misery, in loneliness. Hard-working men & women who only get to see their ideas stolen or distorted. They find themselves forced to work on projects they despise; and projects in which they have no control.

But if all I've said just now doesn't deter you--if you feel that cinema is in your blood--if you feel you can't live without trying to live this dream--then by all means, go for it. Buy all the books you can; its one way to start. Van Gogh didn't paint his first canvas until he was 40...

I'd suggest reading as widely as possible. How-to books can only take you so far. Especially if English is your second language, one of the most important things to do is internalize the bizarre cadences and phrasings that make it work whether written on the page or spoken aloud on the screen.

Also, good screenwriters tend to have a pretty solid grounding in literature. At the very least, it helps. The only way to understand story is to read a lot of them. I love the technical analysis of literature and story structure of the type found in Field and others, but that knowledge is useless without my having read, watched, played, and written a lot of stories.