| Description |
xxii, 518 pages : illustrations (chiefly color), portraits (chiefly color) ; 28 cm |
| Contents |
Machine generated contents note: pt. 1 CULTURAL CONTEXTS: making, watching, and studying movies -- Introduction Studying Film: Culture, Practice, Experience -- Why Film Studies Matters -- Film Spectators and Film Cultures -- Form in Action: Identification, Cognition, and Film Variety -- Film in Focus: Studying The 400 Blows (1959) -- The Film Experience -- ch. 1 Encountering Film: From Preproduction to Exhibition -- Production: How Films Are Made -- Preproduction -- Production -- Postproduction -- Distribution: What We Can See -- Distributors -- Ancillary Markets -- Non-Theatrical Distribution -- Distribution Timing -- Film in Focus: Distributing Killer of Sheep (1977) -- Marketing and Promotion: What We Want to See -- Generating Our Interest -- Advertising -- Form in Action: The Changing Art and Business of the Film Trailer -- Word of Mouth -- Fan Engagement -- Movie Exhibition: The Where, When, and How of Movie Experiences -- |
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Contents note continued: The Changing Contexts and Practices of Film Exhibition -- Film in Focus: Promoting The Crying Game (1992) -- Technologies and Cultures of Exhibition -- Film in Focus: Exhibiting Citizen Kane (1941) -- The Timing of Exhibition -- pt. 2 FORMAL COMPOSITIONS: film scenes, shots, cuts, and sounds -- ch. 2 Exploring a Material World: Mise-en-Scene -- A Short History of Mise-en-Scene -- Theatrical Mise-en-Scene and the Prehistory of Cinema -- 1900-1912: Early Cinema's Theatrical Influences -- 1915-1928: Silent Cinema and the Star System -- 1930s-1960s: Studio-Era Production -- 1940-1970: New Cinematic Realism -- 1975-Present: Mise-en-Scene and the Blockbuster -- The Elements of Mise-en-Scene -- Settings and Sets -- Scenic and Atmospheric Realism -- Props, Actors, Costumes, and Lights -- Film in Focus: From Props to Lighting in Do the Right Thing (1989) -- Space and Design -- Form in Action: Mise-en-Scene in Fantastic Mr. Fox (2009) -- |
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Contents note continued: The Significance of Mise-en-Scene -- Defining Our Place in a Film's Material World -- Interpretive Contexts for Mise-en-Scenes -- Film in Focus: Naturalistic Mise-en-Scene in Bicycle Thieves (1948) -- Spectacularizing the Movies -- ch. 3 Framing What We See: Cinematography -- A Short History of the Cinematic Image -- 1820s-1880s: The Invention of Photography and the Prehistory of Cinema -- 1890s-1920s: The Emergence and Refinement of Cinematography -- 1930s-1940s: Developments in Color, Wide-Angle, and Small-Gauge Cinematography -- 1950s-1960s: Widescreen, 3-D, and New Color Processes -- 1970s-1980s: Cinematography and Exhibition in the Age of the Blockbuster -- 1990s and Beyond: The Digital Future -- The Elements of Cinematography -- Points of View -- Four Attributes of the Shot -- Form in Action: Color and Contrast in Film -- Animation and Visual Effects -- The Significance of the Film Image -- Image as Presentation or Representation -- |
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Contents note continued: Image as Presence or Text -- Film in Focus: From Angles to Animation in Vertigo (1958) -- Film in Focus: Meaning through Images in M (1931) -- ch. 4 Relating Images: Editing -- A Short History of Film Editing -- 1895-1918: Early Cinema and the Emergence of Continuity Editing -- 1919-1929: Soviet Montage -- 1930-1959: The Studio Era -- 1960-1989: Modern Disjunctive Editing -- 1990s-Present: Editing in the Digital Age -- The Elements of Editing -- The Cut and Other Transitions -- Continuity Style -- Editing and Temporality -- Form in Action: Editing and Rhythm in Moulin Rouge! (2001) -- Graphic, Movement, and Rhythmic Editing -- Film in Focus: Patterns of Editing in Bonnie and Clyde (1967) -- The Significance of Film Editing -- How Editing Makes Meaning -- Continuity and Disjunctive Editing Styles -- Film in Focus: Montage in Battleship Potemkin (1925) -- Converging Editing Styles -- ch. 5 Listening to the Cinema: Film Sound -- |
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Contents note continued: A Short History of Film Sound -- Theatrical and Technological Prehistories of Film Sound -- 1895-1920s: The Sounds of Silent Cinema -- 1927-1930: Transition to Synchronized Sound -- 1930s-1940s: Challenges and Innovations in Cinema Sound -- 1950s-Present: From Stereophonic to Digital Sound -- The Elements of Film Sound -- Sound and Image -- Sound Production -- Film in Focus: Sound and Image in Singin' in the Rain (1952) -- Voice, Music, Sound Effects -- Form in Action: Music and Meaning in I'm Not There (2007) -- The Significance of Film Sound -- Authenticity and Experience -- Sound Continuity and Sound Montage -- Film in Focus: The Ethics and Effects of Sound Technology in The Conversation (1974) -- pt. 3 ORGANIZATIONAL STRUCTURES: from stories to genres -- ch. 6 Telling Stories: Narrative Films -- A Short History of Narrative Film -- 1900-1920: Adaptations, Scriptwriters, and Screenplays -- |
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Contents note continued: 1927-1950: Sound Technology, Dialogue, and Classical Hollywood Narrative -- 1950-1980: Art Cinema -- 1980s-Present: Narrative Reflexivity and Games -- The Elements of Narrative Film -- Stories and Plots -- Characters -- Diegetic and Nondiegetic Elements -- Narrative Patterns of Time -- Form in Action: Nondiegetic Images and Narrative -- Narrative Space -- Narrative Perspectives -- Film in Focus: Plot and Narration in Apocalypse Now (1979) -- The Significance of Film Narrative -- Shaping Memory, Making History -- Narrative Traditions -- Film in Focus: Classical and Alternative Traditions in Mildred Pierce (1945) and Daughters of the Dust (1991) -- ch. 7 Representing the Real: Documentary Films -- A Short History of Documentary Cinema -- A Prehistory of Documentaries -- 1895-1905: Early Actualities, Scenics, and Topicals -- The 1920s: Robert Flaherty and the Soviet Documentaries -- 1930-1945: The Politics and Propaganda of Documentary -- |
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Contents note continued: 1950s-1970s: New Technologies and the Arrival of Television -- 1980-Present: Digital Cinema, Cable, and Reality TV -- The Elements of Documentary Films -- Nonfiction and Non-Narrative -- Expositions: Organizations That Show or Describe -- Film in Focus: Nonfiction and Non-Narrative in Man of Aran (1934) -- Rhetorical Positions -- The Significance of Documentary Films -- Revealing New or Ignored Realities -- Film in Focus: Organizational Strategies and Rhetorical Positions in Sunless (1982) -- Confronting Assumptions, Altering Opinions -- Serving as a Social, Cultural, and Personal Lens -- Form in Action: The Contemporary Documentary: Exit Through the Gift Shop (2010) -- ch. 8 Challenging Form: Experimental Film and New Media -- A Short History of Experimental Film and Media Practices -- 1910s-1920s: European Avant-Garde Movements -- 1930s-1940s: Sound and Vision -- 1950s-1960s: The Postwar Avant-Garde in America -- |
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Contents note continued: Film in Focus: Avant-Garde Visions in Meshes of the Afternoon (1943) -- 1968 and After: Politics and Experimental Cinema -- 1980s-Present: New Technologies and New Media -- The Elements of Experimental Media -- Formalisms: Narrative Experimentation and Abstraction -- Experimental Organizations: Associative, Structural, and Participatory -- Film in Focus: Formal Play in Ballet mecanique (1924) -- Styles and Perspectives: Surrealist, Lyrical, and Critical -- Form in Action: Lyrical Style in Bridges-Go-Round (1958) -- The Significance of Experimental Media -- Challenging and Expanding Perception -- Experimental Film Traditions -- ch. 9 Rituals, Conventions, Archetypes, and Formulas: Movie Genres -- A Short History of Film Genre -- Historical Origins of Genres -- Early Film Genres -- 1920s-1940s: Genre and the Studio System -- 1948-1970s: Postwar Film Genres -- 1970s-Present: New Hollywood, Sequels, and Global Genres -- The Elements of Film Genre -- |
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Contents note continued: Conventions, Formulas, and Expectations -- Movie Genres: Six Paradigms -- The Significance of Film Genre -- Prescriptive and Descriptive Approaches -- Film in Focus: Generic Chinatown (1974) -- Classical and Revisionist Genres -- Form in Action: Genre Revisionism: Comparing True Grit (1969) and True Grit (2010) -- Local and Global Genres -- Film in Focus: The Significance of Genre History in Vagabond (1985) -- pt. 4 CRITICAL PERSPECTIVES: history, methods, writing -- ch. 10 History and Historiography: Hollywood and Beyond -- Early Cinema -- Cinema between the Wars -- Classical Hollywood Cinema -- German Expressionist Cinema -- Soviet Silent Films -- French Impressionist Cinema and Poetic Realism -- Postwar Cinemas -- Postwar Hollywood -- Italian Neorealism -- French New Wave -- Japanese Cinema -- Third Cinema -- Contemporary Film Cultures -- Contemporary Hollywood -- Contemporary European Cinema -- Film in Focus: Taxi Driver and New Hollywood (1976) -- |
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Contents note continued: Indian Cinema -- African Cinema -- Chinese Cinema -- Iranian Cinema -- The Lost and Found of Film History -- Women Filmmakers -- African American Cinema -- Lesbian/Gay/Bisexual/Transgender (LGBT) Film History -- Film in Focus: Lost and Found History: Within Our Gates (1920) -- Indigenous Media -- Excavating Film History -- ch. 11 Reading about Film: Critical Theories and Methods -- Film Theory: Cinematic Specificity and Interdisciplinarity -- Early and Classical Film Theory -- Early Film Theory -- Soviet Montage Theory -- Classical Film Theories: Formalism and Realism -- Postwar Film Culture and Criticism -- Film Journals -- Auteur Theory -- Genre Theory -- Critical Questions in Contemporary Film Theory -- Semiotics, Structuralism, and Ideological Critique -- Film in Focus: Genre and Authorship in Touch of Evil (1958) -- Poststructuralism: Psychoanalysis, Apparatus Theory, and Spectatorship -- Theories of Gender and Sexuality -- Cultural Studies -- |
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Contents note continued: Film and Philosophy -- Postmodernism and New Media -- Film in Focus: Clueless about Contemporary Film Theory? (1995) -- ch. 12 Writing a Film Essay: Observations, Arguments, Research, and Analysis -- Writing an Analytical Film Essay -- Personal Opinion and Objectivity -- Identifying Your Readers -- Elements of the Analytical Film Essay -- Preparing to Write about a Film -- Asking Questions -- Taking Notes -- Film in Focus: Analysis, Audience, and Citizen Kane (1941) -- Selecting a Topic -- Elements of a Film Essay -- Interpretation, Argument, and Evidence -- Thesis Statement -- Outline and Topic Sentences -- Revision, Manuscript Format, and Proofreading -- Using Film Images in Your Paper -- Writer's Checklist -- Researching the Movies -- Distinguishing Research Materials -- Film in Focus: Interpretation, Argument, and Evidence in Rashomon (1950) -- Using and Documenting Sources -- |
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Contents note continued: Film in Focus: From Research to Writing about The Cabinet of Dr. Caligari (1920) |
| Summary |
"A comprehensive introduction to film that recognizes students as movie fans and helps them understand the art form's full scope. The authors situate their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we watch film, from economics and exhibition to marketing and the star system." -- Blackwells |
| Notes |
Previous ed.: 2009 |
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Formerly CIP. Uk |
| Bibliography |
Includes bibliographical references and index |
| Subject |
Motion pictures -- Appreciation.
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Motion pictures.
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Film criticism.
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| Author |
Barry, Patricia, 1930-
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| ISBN |
9780312681708 |
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9780230359093 |
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