Holdings: Film history :: THWS Bibkatalog

Film history: an introduction

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Bibliographic Details
Main Authors:	Thompson, Kristin 1950- (Author), Bordwell, David 1947-2024 (Author)
Format:	Book
Language:	English
Published:	Boston, Mass. [u.a.] McGraw-Hill 2003
Edition:	2. ed.
Subjects:	Geschichte Cinéma - Histoire Filmkunst História do cinema Film Motion pictures > History Hochschulschrift
Online Access:	Inhaltsverzeichnis
Physical Description:	XX, 788 S. Ill.
ISBN:	9780071151412 0070384290 0071151419

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adam_text	CONTENTS Preface xix Introduction: Film History and How It Is Done 1 Why Do We Care About Old Movies ? 1 What Do Film Historians Do? 2 Questions and Answers 2 I Film History as Description and Explanation 3 I Evidence 4 I Explaining the Past: Basic Approaches 5 I Explaining the Past: Organizing the Evidence 5 Our Approach to Film History 7 History as Story 9 References 10 Part One EARLY CINEMA ÍÍ 1 THE INVENTION AND EARLY YEARS OF THE CINEMA, ШОѕ-1904 13 The Invention of the Cinema 14 Preconditions for Motion Pictures 14 I Major Precursors of Motion Pictures IS I An International Process of Invention 16 Early Filmmaking and Exhibition 21 Scenics, Topicals, and Fiction Films 21 I Creating an Appealing Program 21 I The Growth of the French Film Industry 22 BOX: THE SPREAD OF THE CINEMA AROUND THE WORLD: SOME REPRESENTATIVE EXAMPLES 11 BOX: GEORGES MÉLIÈS, MAGICIAN OF THE CINEMA 24 England and the Brighton School 24 I The United States: Competition and the Resurgence of Edison 27 Notes and Queries 31 Identification and Preservation of Early Films 31 I Reviving Interest in Early Cinema: The Brighton Conference 32 Reference 32 Further Reading 32 2 THE INTERNATIONAL EXPANSION OF THE CINEMA, 1905-1912 33 Film Production in Europe 33 France: Pathé versus Gaumont 33 I Italy: Growth through Spectacle 35 I Denmark: Nordisk and Ole Olsen 36 I Other Countries 37 The Struggle for the Expanding American Film Industry 37 The Nickelodeon Boom 37 I The Motion Picture Patents Company versus the Independents 39 I Social Pressures and Self-Censorship 40 I The Rise of the Feature Film 41 I The Star System 41 I The Movies Move to Hollywood 42 The Problem of Narrative Clarity 42 Early Moves toward Classical Storytelling 43 An International Style 50 Notes and Queries Griffith s Importance in the Development of Film Style 51 51 BOX: THE BEGINNINGS OF FILM ANIMATION 52 References 54 Further Reading 54 3 NATIONAL CINEMAS, HOLLYWOOD CLASSICISM, AND WORLD WAR I, 1913-1919 55 The American Takeover of World Markets The Rise of National Cinemas Germany 57 I Italy 58 I Russia 60 BOX: THE BRIEF HEYDAY Of THE SERIAL 56 57 France 62 I Denmark 63 I Sweden 64 The Classical Hollywood Cinema 68 The Major Studios Begin to Form 68 I Controlling Filmmaking 68 I Filmmaking in Hollywood during the 1910s 70 BOX: PRECISION STAGING IN EUROPEAN CINEMA 71 Films and Filmmakers 73 I Streamlining American Animation 77 Smaller Producing Countries 77 Notes and Queries 79 The Ongoing Rediscovery of the 1910s 79 References 80 Further Reading 80 Part Two THE LATE SILENT ERA, Í9Í9-1929 81 4 FRANCE IN THE 1920s 85 The French Film Industry after World War I 85 Competition from Imports 85 I Disunity within the Film Industry 86 I Outdated Production Facilities 86 Major Postwar Genres 87 The French Impressionist Movement 88 The Impressionists Relation to the Industry 88 A CHRONOLOGY OF FRENCH IMPRESSIONIST CINEMA 89 Impressionist Theory 90 I Formal Traits of Impressionism 91 The End of French Impressionism 98 The Filmmakers Go Their Own Ways 98 I Problems within the Film Industry 98 Notes and Queries 99 French Impressionist Theory and Criticism 99 I Restoration Work on Napoleon 100 References 100 Further Reading 100 5 GERMANY IN THE 1920s 101 The German Situation after World War I 101 Genres and Styles of German Postwar Cinema 102 Spectacles 103 I The German Expressionist Movement 103 A CHRONOLOGY OF GERMAN EXPRESSIONIST CINEMA 104 Kammerspiel 109 I German Films Abroad 110 Major Changes in the Mid- to Late 1920s The Technological Updating of the German Studios 111 I The End of Inflation 112 The End of the Expressionist Movement New Objectivity BOX: G. W. PABST AND NEW OBJECTIVITY 116 Export and Classical Style 110 113 114 115 118 Notes and Queries German Cinema and German Society 118 I Expressionism, New Objectivity, and the Other Arts 118 References 118 Further Reading 118 6 SOVIET CINEMA IN THE 1920s 119 The Hardships of War Communism, 1918-1920 119 Recovery under the New Economic Policy, 1921-1924 123 Increased State Control and the Montage Movement, 1925-1930 124 Growth and Export in the Film Industry 124 I The Influence of Constructivism 125 I A New Generation: The Montage Filmmakers 127 A CHRONOLOGY OF THE SOVIET MONTAGE MOVEMENT 128 The Theoretical Writings of Montage Filmmakers 129 I Soviet Montage Form and Style 130 Other Soviet Films The First Five-Year Plan and the End of the Montage Movement 138 139 141 Notes and Queries Film Industry and Governmental Policy: A Tangled History 141 I The Kuleshov Effect 141 I The Russian Formalists and the Cinema 141 References 141 Further Reading 142 7 THE LATE SILENT ERA IN HOLLYWOOD, 1920-1928 143 Theater Chains and the Structure of the Industry 144 Vertical Integration 144 I Picture Palaces 145 I The Big Three and the Little Five 145 The Motion Picture Producers and Distributors of America 146 Studio Filmmaking 147 Style and Technological Changes 147 I Big-Budget Films of the 1920s 149 I Hew Investment and Blockbusters 152 I Genres and Directors 153 BOX: SILENT COMEDY IN THE 1920s 154 Foreign Filmmakers in Hollywood 158 Films for African American Audiences 162 The Animated Part of the Program 163 Notes and Queries 165 The Rediscovery of Buster Keaton 165 References 166 Further Reading 166 8 INTERNATIONAL TRENDS OF THE 1920s 167 Film Europe 167 Postwar Animosities Fade 167 I Concrete Steps toward Cooperation 168 I Success Cut Short 169 The International Style 170 The Blending of Stylistic Traits 170 I Carl Drey er: European Director 171 Film Experiments outside the Mainstream Industry 173 Abstract Animation 173 BOX: THE SPREAD OF ART CINEMA INSTITUTIONS 174 Dada Filmmaking 177 I Surrealism 178 I Cinéma Pur 179 I Lyrical Documentaries: The City Symphony 181 I Experimental Narrative 182 Documentary Features Gain Prominence 184 Commercial Filmmaking Internationally 186 Japan 186 I Great Britain 187 I Italy 187 I Some Smaller Producing Countries 188 Notes and Queries Different Versions of Silent Classics 189 References 190 Further Reading 190 189 Part Three THE DEVELOPMENT OF SOUND CINEMA, Í926-Í945 191 9 THE INTRODUCTION OF SOUND 193 Sound in the United States 194 Warner Bros, and Vitaphone 194 I Sound-on Film Is Adopted 194 I Sound and Filmmaking 195 BOX: EARLY SOUND TECHNOLOGY AND THE CLASSICAL STYLE 196 Germany Challenges Hollywood 200 Dividing the International Pie 200 I The Early Sound Era in Germany 201 The USSR Pursues Its Own Path to Sound The International Adoption of Sound France 206 I Great Britain 207 I Japan 208 I Wiring the World s Theaters for Sound 209 I Crossing the Language Barrier 210 Notes and Queries Filmmakers on the Coming of Sound 211 I Sound and the Revision of Film History 211 References 211 Further Reading 211 10 THE HOLLYWOOD STUDIO SYSTEM, 1930-1945 213 The New Structure of the Film Industry The Big Five 214 I The Little Three 216 I 204 206 211 214 BOX: THE HAYS CODE: HOLLYWOOD 216 -CENSORSHIP IN The Independents 218 Exhibition Practice in the 1930s Continued Innovation in Hollywood Sound Recording 219 I Camera Movement 220 I Technicolor 220 I Special Effects 221 I Cinematography Styles 223 Major Directors The Older Generation 224 I New Directors 226 218 219 224 BOX: CITIZEN KA AMBERSONS 227 AND THE MAGNIFICENT New Émigré Directors 228 Genre Innovations and Transformations 228 The Musical 228 I The Screwball Comedy 230 I The Horror Film 231 I The Social Problem Film 232 I The Gangster Film 233 I Film Noir 233 I The War Film 235 Animation and the Studio System Notes and Queries The Controversy over Orson Welles 237 References 238 Further Reading 238 235 237 11 OTHER STUDIO SYSTEMS 239 Quota Quickies and Wartime Pressures: The British Studios 239 The British Film Industry Grows 239 I Export Successes 241 I Alfred Hitchcock s Thrillers 242 I Crisis and Recovery 242 I The Effects of the War 244 Innovation within an Industry: The Studio System of Japan 246 Popular Cinema of the 1930s 246 I The Pacific War 248 BOX: YASUJIRO OZU AND KENJI JVIIZOGUCHI IN THE 1930s 249 India: An Industry Built on Music 256 A Highly Fragmented Business 256 I Mythologicals, Socials, and Devotionals 256 I Independents Weaken the System 257 China: Filmmaking Caught between Left and Right 257 Notes and Queries 259 Japanese Cinema Rediscovered 259 References 260 Further Reading 260 12 CINEMA AND THE STATE: THE USSR, GERMANY, AND ITALY, 1930-1945 261 The Soviet Union: Socialist Realism and World War II 261 Films of the Early 1930s 262 I The Doctrine of Socialist Realism 262 SOCIALIST REALISM AND CHAPAYEV The Main Genres of Socialist Realism 264 I The Soviet Cinema in Wartime 268 The German Cinema under the Nazis 271 The Nazi Regime and the Film Industry 271 I Films of the Nazi Era 272 I The Aftermath of the Nazi Cinema 275 Italy: Propaganda versus Entertainment 276 Industry Tendencies 276 I A Cinema of Distraction 277 I A New Realism? 279 Notes and Queries 281 The Case of Leni Riefenstahl 281 References 281 Further Reading 282 13 FRANCE: POETIC REALISM, THE POPULAR FRONT, AND THE OCCUPATION, 1930-1945 283 The Industry and Filmmaking during the 1930s 284 Production Problems and Artistic Freedom 284 I Fantasy and Surrealism: René Clair, Pierre Prévert, and ]ean Vigo 284 I Quality Studio Filmmaking 286 I Emigres in France 287 I Everyday Realism 288 Poetic Realism 289 Doomed Lovers and Atmospheric Settings 289 I The Creative Burst of Jean Renoir 290 I Other Contributors 292 Brief Interlude: The Popular Front 293 BOX: POPULAR FRONT FILMMAKING: LA VIE EST A NOUS AND LA MARSEILLAISE 294 Filmmaking in Occupied and Vichy France 296 The Situation in the Film Industry 296 I Films of the Occupation Period 298 Notes and Queries 301 Renewed Interest in the Popular Front 301 Reference 302 Further Reading 302 14 LEFTIST, DOCUMENTARY, AND EXPERIMENTAL CINEMAS, 1930-1945 303 The Spread of Political Cinema 303 The United States 304 I Germany 305 I Belgium and the Netherlands 305 I Great Britain 306 I International Leftist Filmmaking in the Late 1930s 307 Government- and Corporate-Sponsored Documentaries 309 The United States 309 I Great Britain 310 BOX: ROBERT FLAHERTY: MAN OF ARAN AND THE ROMANTIC DOCUMENTARY 311 Wartime Documentaries 313 Hollywood Directors and the War 313 I Great Britain 314 I Germany and the USSR 316 The International Experimental Cinema 317 Experimental Narratives and Lyrical and Abstract Films 317 I Surrealism 318 I Animation 319 References 322 Further Reading 322 Part Four THE POSTWAR ERA: 1945-1960« 323 S Φ «> Cř 15 AMERICAN CINEMA IN THE POSTWAR ERA, 1945-1960 325 1946-1948 326 The HUAC Hearings: The Cold War Reaches Hollywood 326 I The Paramount Decision 327 The Decline of the Hollywood Studio System 328 Changing Lifestyles and Competing Entertainment 328 I Hollywood Adjusts to Television 329 BOX: SEE IT ON THE BIG SCREEN 330 Art Cinemas and Drive-ins 333 I Challenges to Censorship 334 The New Power of the Individual Film and the Revival of the Roadshow 335 The Rise of the Independents 336 Mainstream Independents: Agents, Star Power, and the Package 336 I Exploitation 337 I Independents on the Fringe 339 Classical Hollywood Filmmaking: A Continuing Tradition 339 Complexity and Realism in Storytelling 339 I Stylistic Changes 341 I New Twists on Old Genres 341 Major Directors: Several Generations 344 Veterans of the Studio Era 344 I Emigres Stay On 346 BOX: ALFRED HITCHCOCK 347 Welles s Struggle with Hollywood 348 I The Impact of the Theater 348 I New Directors 350 Notes and Queries Widescreen Formats in Subsequent History 351 351 References 351 Further Reading 351 1 6 POSTWAR EUROPEAN CINEMA: NEOREALISM AND ITS CONTEXT, 1945-1959 353 The Postwar Context 353 Film Industries and Film Culture 354 West Germany: Papas Kino 3S4 I Resistance to U.S. Encroachment 355 I Art Cinema: The Return of Modernism 357 Italy: Neorealism and After 359 Italian String 359 NEOREALISM AND AFTER: A CHRONOLOGY OF EVENTS AND SELECTED WORKS 360 Defining Neorealism 362 BOX: UMBERTO D: THE MAID WAKES UP 364 BOX: OPEN CITY: THE DEATH OF PINA 365 Beyond Neorealism 366 369 371 BOX: LUCHINO VISCONTI AND ROBERTO ROSSELLINI 367 A Spanish Neorealism? Notes and Queries Controversies around Neorealism 3 71 References 371 Further Reading ; 372 17 POSTWAR EUROPEAN CINEMA: FRANCE, SCANDINAVIA, AND BRITAIN, 1945-1959 373 French Cinema of the Postwar Decade 373 The Industry Recovers 373 BOX: POSTWAR FRENCH FILM CULTURE 374 The Tradition of Quality 375 I The Return of Older Directors 377 I New Independent Directors 381 Scandinavian Revival 383 BOX: CARL THEODOR DREYER 384 England: Quality and Comedy 385 Problems in the Industry 385 I Literary Heritage and Eccentricity 386 I Art-House Success Abroad 389 Notes and Queries 389 Postwar French Film Theory 389 I The Powell- Pressburger Revival 390 References 390 Further Reading 390 18 POSTWAR CINEMA BEYOND THE WEST, 1945-1959 391 General Tendencies 391 Japan 393 Industry Recovery under the Occupation 393 I The Veteran Directors 394 I The War Generation 396 Postwar Cinema in the Soviet Sphere of Influence 397 The USSR: From High Stalinism to the Thaw 397 I Postwar Cinema in Eastern Europe 399 People s Republic of China 404 Civil War and Revolution 404 I Mixing Maoism and Tradition 406 India 407 A Disorganized but Prolific Industry 407 I The Populist Tradition and Raj Kapoor 407 BOX: MUSIC AND POSTWAR INDIAN FILM 408 Swimming against the Stream: Guru Dutt and Ritwik Ghatak 409 Latin America 411 Argentina and Brazil 411 I Mexican Popular Cinema 412 Notes and Queries 413 De-Stalinization and the Disappearing Act 413 References 414 Further Reading 414 19 ART CINEMA AND THE IDEA OF AUTHORSHIP 415 The Rise and Spread of the Auteur Theory 415 Authorship and the Growth of the Art Cinema 416 Luis Buñuel (1900-1983) 417 Ingmar Bergman (1918- ) 419 Akira Kurosawa (1910-1998) 422 Federico Fellini (1920-1993) 425 Michelangelo Antonioni (1912- ) 426 Robert Bresson (1907-1999) 428 Jacques Tati (1908-1982) 431 Satyajit Ray (1921-1992) 433 Notes and Queries 436 The Impact of Auteurism 436 I Auteurism and the American Cinema 436 I 1950s and 1960s Modernist Cinema 437 References 438 Further Reading 438 20 NEW WAVES AND YOUNG CINEMAS, 1958-1967 439 The Industries New Needs 439 Formal and Stylistic Trends 440 France: New Wave and New Cinema 443 The New Wave 443 FRENCH NEW CINEMA AND THE NOUVELLE VAGUE: A CHRONOLOGY OF MAJOR RELEASES 444 BOX: FRANÇOIS TRUFFAUT AND JEAN-LUC GODARD 446 New Cinema: The Left Bank 449 Italy: Young Cinema and Spaghetti Westerns 451 Great Britain: Kitchen Sink Cinema 454 Young German Film 456 New Cinema in the USSR and Eastern Europe 458 Young Cinema in the Soviet Union 458 I New Waves in Eastern Europe 460 BOX: MIKLOS JANCSO 465 The Japanese New Wave 468 Brazil: Cinema Nôvo 471 Notes and Queries 475 Censorship and the French New Wave 475 I New Film Theory 475 References 475 Further Reading 476 21 DOCUMENTARY AND EXPERIMENTAL CINEMA IN THE POSTWAR ERA, 1945-MID-1960S 477 Toward the Personal Documentary 478 Innovative Trends 478 I The National Film Board and Free Cinema 480 I France: The Auteurs Documentaries 481 I Jean Rouch and Ethnographic Documentary 482 Direct Cinema 483 The United States: Drew and Associates 483 BOX: NEW TECHNOLOGY FOR THE NEW DOCUMENTARY 484 Direct Cinema in Bilingual Canada 486 I France: Cinéma Vérité 487 Experimental and Avant-Garde Cinema 489 BOX: THE FIRST POSTWAR DECADE MAYA DEREN 490 Abstraction, Collage, and Personal Expression 493 THE SECOND POSTWAR DECADE STAN BRAKHAGE 499 Success and New Ambitions 500 I Underground and Expanded Cinema 501 Notes and Queries 507 Writing the History of the Postwar Avant-Garde 507 References 508 Further Reading 508 Part Five THE CONTEMPORARY CINEMA SINCE THE I960« 509 22 HOLLYWOOD S FALL AND RISE: 1960-1980 511 The 1960s: The Film Industry in Recession The Studios in Crisis 512 I Styles and Genres 513 I Modifying the Classical Studio Style 514 I Identifying the Audience 515 512 BOX: NEW PRODUCTION AND EXHIBITION TECHNOLOGIES 516 The New Hollywood: Late 1960s to Late 1970s 516 Toward an American Art Cinema 51 7 BOX: PERSONAL CINEMA: ALTMAN AND ALLEN 520 Hollywood Strikes Gold 522 I The Return of the Blockbuster 522 BOX: THE 1970s BIG THREE: COPPOLA, SPIELBERG, AND LUCAS 523 Hollywood Updated 526 I Scorsese as Synthesis 528 Opportunities for Independents 530 Notes and Queries 532 The American Director as Superstar 532 I film Consciousness and film Preservation 532 I Exploitation Films and Connoisseurs of Weird Movies 533 References 533 Further Reading 533 23 POLITICALLY CRITICAL CINEMA OF THE 1960s AND 1970s 535 Political Filmmaking in the Third World 536 Revolutionary Aspirations 537 I Political Genres and Style 538 I Latin America 538 BOX: TWO REVOLUTIONARY FILMS: MEMORIES OF UNDERDEVELOPMENT AND LUCÍA 542 Black African Cinema 548 I China: Cinema and the Great Proletarian Cultural Revolution 551 Political Filmmaking in the First and Second Worlds 553 Eastern Europe and the USSR 553 I Political Cinema in the West 556 BOX: FILM ACTIVITIES DURING THE MAY EVENTS IN PARIS 558 Political Modernism 562 BOX: BRECHT AND POLITICAL MODERNISM 562 The Politicization of Mainstream Narrative and the Art Film 568 I New Cinema in West Germany: The Political Wing 572 Notes and Queries 576 Defining Third World Revolutionary Cinema 576 I Film Studies and the New Film Theory 577 References 577 Further Reading 578 24 DOCUMENTARY AND EXPERIMENTAL FILM SINCE THE LATE 1960s 579 Documentary Cinema 579 Direct Cinema and Its Legacy 579 BOX: FREDERICK WISEMAN AND THE TRADITION OF DIRECT CINEMA 581 Synthesizing Documentary Techniques 583 I The Questioning of Documentary Actuality 584 I Documenting Upheavals and Injustice 586 I The Theatrical Documentary in the Age of Television 587 From Structuralism to Pluralism in Avant-Garde Cinema 589 Structural Film 589 I Reactions and Alternatives to Structural Film 594 BOX: INDEPENDENT ANIMATION OF THE 1970s AND 1980s 595 New Mergers 601 Notes and Queries 602 Rethinking Documentary 602 I The Idea of Structure 603 I The Avant-Garde and Postmodernism 603 References 604 Further Reading 604 25 NEW CINEMAS AND NEW DEVELOP¬ MENTS: EUROPE AND THE USSR SINCE THE 1970s 605 Western Europe Crisis in the Industry 606 606 BOX: TELEVISION AND AARDMAN ANIMATION 608 The Art Cinema Revived: Toward Accessibility 609 BOX: DURAS, VON TROTTA, AND THE EUROPEAN ART CINEMA 614 The Arresting Image 618 Eastern Europe and the USSR Eastern Europe: From Reform to Revolution 623 I The USSR: The Final Thaw 627 Notes and Queries The New German Cinema 631 References 632 Further Reading 632 623 631 26 BEYOND THE INDUSTRIALIZED WEST: LATIN AMERICA, THE ASIA-PACIFIC REGION, THE MIDDLE EAST, AND AFRICA SINCE THE 1970s 633 From Third World to Developing Nations 634 Latin America: Accessibility and Decline 635 BOX: LATIN AMERICAN LITERATURE AND CINEMA 635 Brazil 636 I Argentina and Elsewhere 637 I Mexico 638 I Cuba and Other Left-Wing Cinemas 639 India: Mass Output and Art Cinema 640 A Parallel Cinema 641 I Beyond a Parallel Cinema 642 I Coproductions, International Directors, and a New Political Cinema 643 Japan 644 Independent Filmmaking: An Irreverent Generation 645 I The 1990s: The Punctured Bubble and a New Surge of Talent 646 Mainland China: The Fifth Generation and Beyond 648 The Fifth Generation 648 CHRONOLOGY OF CHINA S FIFTH GENERATION 649 The Sixth Generation and Illegal Films 650 New Cinemas in East Asia 652 The Philippines 653 I Hong Kong 654 I Taiwan 659 BOX: EDWARD YANG AND HOU HSIAO-HSIEN 660 South Korea 662 Australia and New Zealand 663 Australia 663 I New Zealand 665 Filmmaking in the Middle East 666 Israel 667 I Egypt 668 I Turkey 668 I Iraq and Iran 669 African Cinema 671 North Africa 671 I Sub-Saharan Africa 672 I The 1990s 674 Notes and Queries 675 Pinning the Tail on Pinochet 675 I Storytelling in Third World Cinema 675 References 676 Further Reading 676 # s » β Part Six CINEMA IN THE AGE OF ELECTRONIC MEDIA 677 27 AMERICAN CINEMA AND THE ENTERTAINMENT ECONOMY: THE 1980s AND AFTER 679 Hollywood, Cable Television, and Videotape 680 Concentration and Consolidation in the Film Industry 681 The Megapicture Mentality 683 I The Bottom bine 684 I Prime Packagers 685 I New Revenue Streams 685 I Megaplexing: The New Face of Exhibition 686 Artistic Trends 687 Form and Style 687 BOX: INTENSIFIED CONTINUITY: A STYLE FOR THE VIDEO AGE 688 Directors: Coming to Terms with Megapics 689 I Genres 692 A New Age of Independent Cinema 694 Support Systems 695 I The Arty Indies 696 I Off-Hollywood Indies 697 / Retro-Hollywood Independents 700 Digital Cinema 701 A TIMELINE OF 3-D COMPUTER ANIMATION Notes and Queries 703 Video Versions 703 I George Lucas: Is Film Dead? 704 References 704 Further Reading 704 28 TOWARD A GLOBAL FILM CULTURE 705 Hollyworld? The Media Conglomerates 706 I Cooperation and Cooptation 707 706 BOX: JURASSIC PARK, GLOBAL FILM 708 Battles over GATT 709 I Multiplexing the Planet 709 Regional Alliances and the New International Film 710 Europe and Asia Try to Compete 710 I Media Empires 711 I Polygram: A European Majori 711 I Global Films from Europe 711 I East Asia: Regional Alliances and Global Efforts 712 BOX: BACK TO BASICS: DOGME 95 713 Diasporas and the Global Soul 715 The Festival Circuit 716 BOX: THE TORONTO INTERNATIONAL FILM FESTIVAL 717 Global Subcultures 718 Video Piracy: An Efficient Distribution System? 718 I Fan Subcultures: Appropriating the Movies 718 Digital Convergence 720 The Internet as Movie Billboard 720 I Digital Moviemaking from Script to Screen 721 Notes and Queries 723 Akira, Gundam, Sailor Moon, and their friends 723 I Auteurs on the Web 723 References 723 Further Reading 723 Bibliography 725 Glossary 732 Index 739
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author	Thompson, Kristin 1950- Bordwell, David 1947-2024
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genre_facet	Hochschulschrift
id	DE-604.BV014497847
illustrated	Illustrated
indexdate	2024-07-09T19:03:08Z
institution	BVB
isbn	9780071151412 0070384290 0071151419
language	English
lccn	2002070976
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-009883424
oclc_num	49719388
open_access_boolean
owner	DE-M472 DE-19 DE-BY-UBM DE-703 DE-29 DE-355 DE-BY-UBR DE-473 DE-BY-UBG DE-739 DE-Po75
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physical	XX, 788 S. Ill.
publishDate	2003
publishDateSearch	2003
publishDateSort	2003
publisher	McGraw-Hill
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spelling	Thompson, Kristin 1950- Verfasser (DE-588)131823833 aut Film history an introduction Kristin Thompson ; David Bordwell 2. ed. Boston, Mass. [u.a.] McGraw-Hill 2003 XX, 788 S. Ill. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Cinéma - Histoire Cinéma - Histoire ram Filmkunst gtt História do cinema larpcal Film Geschichte Motion pictures History Film (DE-588)4017102-4 gnd rswk-swf Geschichte (DE-588)4020517-4 gnd rswk-swf 1\p (DE-588)4113937-9 Hochschulschrift gnd-content Film (DE-588)4017102-4 s Geschichte (DE-588)4020517-4 s DE-604 Geschichte z 2\p DE-604 Bordwell, David 1947-2024 Verfasser (DE-588)119411091 aut Digitalisierung UB Passau application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009883424&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk
spellingShingle	Thompson, Kristin 1950- Bordwell, David 1947-2024 Film history an introduction Cinéma - Histoire Cinéma - Histoire ram Filmkunst gtt História do cinema larpcal Film Geschichte Motion pictures History Film (DE-588)4017102-4 gnd Geschichte (DE-588)4020517-4 gnd
subject_GND	(DE-588)4017102-4 (DE-588)4020517-4 (DE-588)4113937-9
title	Film history an introduction
title_auth	Film history an introduction
title_exact_search	Film history an introduction
title_full	Film history an introduction Kristin Thompson ; David Bordwell
title_fullStr	Film history an introduction Kristin Thompson ; David Bordwell
title_full_unstemmed	Film history an introduction Kristin Thompson ; David Bordwell
title_short	Film history
title_sort	film history an introduction
title_sub	an introduction
topic	Cinéma - Histoire Cinéma - Histoire ram Filmkunst gtt História do cinema larpcal Film Geschichte Motion pictures History Film (DE-588)4017102-4 gnd Geschichte (DE-588)4020517-4 gnd
topic_facet	Cinéma - Histoire Filmkunst História do cinema Film Geschichte Motion pictures History Hochschulschrift
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009883424&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT thompsonkristin filmhistoryanintroduction AT bordwelldavid filmhistoryanintroduction

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