Introduction to film studies:
Saved in:
| Format: | Book |
|---|---|
| Language: | English |
| Published: |
London [u.a.]
Routledge
2007
|
| Edition: | 4th. ed. |
| Subjects: | |
| Online Access: | Table of contents only Inhaltsverzeichnis |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | XXIII, 478 S. zahlr. Ill. |
| ISBN: | 9780415409285 9780415409292 0415409284 0415409292 |
Staff View
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| 245 | 1 | 0 | |a Introduction to film studies |c ed. by Jill Nelmes |
| 246 | 1 | 3 | |a Film studies |
| 250 | |a 4th. ed. | ||
| 264 | 1 | |a London [u.a.] |b Routledge |c 2007 | |
| 300 | |a XXIII, 478 S. |b zahlr. Ill. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references and index | ||
| 650 | 7 | |a Filmkunst |2 gtt | |
| 650 | 7 | |a Filmtheorie |2 gtt | |
| 650 | 4 | |a Film | |
| 650 | 4 | |a Motion pictures | |
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Record in the Search Index
| _version_ | 1804136610192687104 |
|---|---|
| adam_text | Contents
List of illustrations xi
Notes on contributors xv
Foreword xvii
BILL NICHOLS
Acknowledgements xix
Introduction to the fourth edition xx
JILL NELMES
How to use this book xxi
Useful features xxi
New features of the fourth edition xxi
Part one: approaches to studying cinema xxii
Part two: cinema as Institution industries, technologies and audiences xxii
Part three: approaches to studying film texts xxii
Part four: other genre forms xxii
Part five: cinema, identities and the politics of representation xxiii
Part six: cinema, nationhood and national identities xxiii
PART ONE: APPROACHES TO STUDYING CINEMA 1
¦ 1 Rediscovering film studies: some fresh starting points 2
PATRICK PHILLIPS
Introduction: film is 3
Non Iinear film history 6
The image as document in time 9
Performance: image and intensity 13
Narrative, realism and the image 18
Conclusion 19
Notes 19
Further reading 21
Further viewing 22
Resource centres 22
PART TWO: CINEMA AS INSTITUTION INDUSTRIES,
TECHNOLOGIES AND AUDIENCES 23
¦ 2 The industrial contexts of film production 24
SEARLE KOCHBERG
Introduction 25
The origins of the American film industry (1900 to 1915) 25
The Studio era of American film (1930 to 1949) 28
Case stuoy 1: Warner Brothers 32
The contemporary film industry (1949 onwards) 35
Case study 2: a US Blockbuster production, Gladiator (2000) 44
Film audiences 4
Case study 3: Sunn Classic Pictures and psychological testing 53
Case study 4: the youth market and Building an audience for Trainspotting
(1996) 53
Case study 5: Building an audience on the web for The Blair Witch Project
(1999) 54
Conclusion 55
Notes 55
Further reading 57
Further viewing 5^
UK resource addresses 5^
PART THREE: APPROACHES TO STUDYING FILM TEXTS 59
¦ 3 Film form and narrative 60
SUZANNE SPEIDEL
Introducing form and narrative 61
Conventions, Hollywood, art and avant garde cinema 61
Cinematic codes 67
Case study 1: classical Conventions in Gladiator (Ridley Scott, 2000) 82
Case study 2: art and artifice in Wild Strawberries/Smultronstället
(Ingmar Bergman, 1957)
Case study 3: postmodernism and playing Games in Run Lola Run/Lola Rennt
(Tom Tywker, 1998) 86
Further reading 88
Further viewing °
Resource centres ^9
¦ 4 Approaches to cinematic authorship 90
PAUL WATSON
Introduction
The three paradoxes of cinematic authorship
What s the use of authorship?
The Problems of auteur theory 10°
A biographical legend: the commerce of authorship
Towards a pragmatic conception of cinematic authorship
Conclusion 107
Further reading 107
IHR
Further viewing
109
¦ 5 Genre theory and Hollywood cinema
PAUL WATSON
Introduction 11°
Genre theory and Hollywood cinema
Defining genre(s)
Genre as economic strategy
Genre as cognition
From text to intertext: genericity and Moulin Rouge
Rethinking genre: multiplicity and metaphor
Further reading
Further viewing
128
¦ 6 Stardom and Hollywood cinema
PAUL WATSON
129
Introduction: three approaches to stardom
When is a star not a star?
Contemporary Hollywood and modes of stardom _
The only thing I can t play is a weak, ditzy woman : analysing Jodie Foster
Conclusion 140
Further reading 141
Further viewing 141
Resource centres 142
¦ 7 Spectator, audience and response 143
PATRICK PHILLIPS
Introduction 144
The film spectator 144
The film audience 146
Response studies 147
What we can learn from Early Cinema 149
Case study 1: the response to The Birth of a Nation (D.W. Griffith, 1915) 153
The spectator of theory 156
Response 160
Case study 2: pleasufie and Evaluation Pulp Fiction (Quentin Tarantino. 1994) 162
Mixing approaches 169
Further reading 170
Further viewing 171
Resource centres 171
PART FOUR: OTHER GENRE FORMS 173
¦ 8 The documentary form 174
PAUL WARD
Introduction 175
What is documentary? 175
Proto documentary the case of early film actualities 178
Case study 1: the films of Mitchell and Kenyon 178
The shift to narrative structure in documentary 180
John Grierson and the British documentary movement 181
Post war developments in observational documentary 183
Case study 2: Grey Gardens (Maysles Brothers. 1975) 184
The move to performative and reflexive documentary 186
Case study 3: Grizzly Man (Werner Herzog. 2005) 186
Documentary, drama and Performance 188
Case study 4: Twockers (Pawel Pawlikowski and Ian Duncan, 1998) 189
Summary 191
Further reading 191
Further viewing 191
Resource centres 192
¦ 9 The language of animation 193
PAUL WELLS
Introduction 194
What is animation? 195
Early animation 197
The legacy of Disney 199
Case study 1: deconstructing the cartoon: Duck Amuck (Chuck Jones, 1953) 200
Case study 2: animation as a self reflexive language: Fast Film
(Virgil Widrich. 2003) 203
Perpetual modernity 205
Case study 3: recalung and revising animation Tradition: The Ren and
Stimpy Show 207
The impact of anime 209
Case study 4: Hayao Miyazaki 209
Case study 5: Norman McLaren 211
Computers and convergence 214
Further reading 217
917
Further viewing
Resource centres 2~I8
PART FIVE: CINEMA, IDENTITIES AND THE POLITICS OF
REPRESENTATION 219
¦ 1O Gender and film 22°
JILL NELMES
pp 1
Introduction
opp
Women and film
No Job for a woman a history of women in film 223
The feminist revolution 6
pp7
Feminist film theory and practice
Representation of gender and sexuality 230
Reassessing feminist film theory
Case study 1: Sally Potter, filmmaker 236
Gender theory and theories of masculinity 239
Case study 2: Fight Club (David Fincher, 1999) 2
949
Conclusion
Notes 249
QAQ
Further reading
Further viewing
Resource centres
¦ 11 Lesbian and gay cinema
CHRIS JONES
253
Introduction: representation
Definitions and developments: changing language
Audiences
255
Film festivals an historical overview
256
Gay sensibility
Camp aesthetics and cinema
Critical re readings
Some queer films
Case stuoy 1: Looking for Langston (Isaac Julien, 1994)
Case stuoy 2: Boys Don t Cry (Kimberly Peirce, 1999)
A queer diversity
Conclusion: the way forward
Further reading
Further viewing
Resource centres
¦ 12 Ethnicity, race, and cinema African American film 279
TERRI FRANCIS
Introduction
Ethnicity, race, and film
African American film history
African American migration narratives „g
The double truth, ruth 7
Stereotypes Q
Racism
Whiteness f
Genre ^
Case stuoy 1: from Zora Neale Hurston Fieldwork Footage (National Film
Preservation Foundation, 2004) 2Q4
Case study 2: The Härder They Come (Perry Henzell, 1972) 5
Case study 3: Bamboozled (Spike Lee, 2000) „g8
Conclusion
Further reading 298
Further viewing 299
Resource centres 300
PART SIX: CINEMA, NATIONHOOD AND NATIONAL
IDENTITIES 301
Studying national cinema: case studies 302
¦ 13 British cinema 302
LAWRENCE NAPPER
Defining British cinema 303
From pioneering to protection 305
Depression and war 312
Golden age to New Wave 317
Decline and revival 322
Case study 1: Love Actually (Richard Curtis, 2003) 327
Case study 2: Bullet Boy (Saul Dibb, 2004) 330
Note 333
Further reading 333
Further viewing 333
Resource centres 334
¦ 14 Indian cinema 335
LALITHA GOPALAN
Introduction 336
Production and reception conditions 337
Case study 1: Monsoon Wedding (Mira Nair, 2002) 339
Writing on Indian cinema 341
Genre and form 342
Case study 2: Sholay (Ramesh Sippy, 1975) 343
Song and dance sequences 345
Love Story 347
Case study 3: Bombay (Mani Ratnam, 1995) 347
Case study 4: Dil Chahta Hai/What the Heart Desires (Farhan Akhtar, 2001) 348
Case study 5: Guru Dutt 349
Interval 351
Gangster fllms 352
Case study 6: Satya (Ramgopal Varma, 1998) 353
Censorship 353
The woman s film 354
Case study 7: Bandit Queen (Shekhar Kapur, 1994) and Fifie (Deepa Mehta,
1998) 355
Foundational fictions of the post colonial nation 356
Case study 8: Hey! Ram (Kamal Haasan, 1999) 356
Case study 9: Lagaan/Tax (Ashutosh Gowrikar, 2001) 359
Conclusion 360
Notes 361
Further reading 361
Further viewing 362
Resource centres 362
National cinemas: art, politics and the avant garde 364
¦ 15 The Soviet montage cinema of the 192Os 364
MARK JOYCE
Introduction: why study the Soviet cinema? 365
Historical background 365
Pre revolutionary Russian cinema 366
Soviet cinema and ideology: film as agent of change 367
Economics of the Soviet film industry 368
Form: montage 369
Other features of Soviet montage cinema 371
The key Soviet montage filmmakers of the 1920s 372
Case study 1: Lev Kuleshov, The Extraordinary Adventures of Mr West in
the Land of the Bolsheviks (1924) 373
Case study 2: Sergei Eisenstein, Strike (1924); Battleship Potemkin (1925);
October (1927); Old And New (1929) 374
Case study 3: Vsevolod Pudovkin, The Mother (1926); The End of
St Petersburg (1927) 382
Case study 4: Alexander Dovzhenko, Arsenal (1929); Earth (1930) 386
Case study 5: Dziga Vertov, The Man with the Movie Camera (1929) 388
Case study 6: Esfir Shub. The Fall of the Romanov Dynasty (1927) 391
Audience response 391
Theoretical debates: montage versus realism 392
PostScript to the 1920s 393
Notes 394
Further reading 395
Further viewing 3
OQ7
Resource centres °
¦ 16 The French New Wave 398
CHRIS DARKE
Introduction 3
Postwar French film culture 400
Film criticism
Case study 1: A bout de souffle (Breathless, Jean Luc Godard, 1960) 405
The production context of the New Wave 406
Case study 2: Les Ouatre Cents coups (The Four Hundred Blows, Francois
Truffaut, 1959) 408
New directors, new producers
Case study 3: La Jetee (The Pier, Chris Marker, 1962) 410
Case study 4: Cleo de 5 ä 7 (Cleo fpom 5 to 7, Agnes Varda, 1961) 412
Characteristics of New Wave cinema
Case study 5: Jean Luc Godard
Case study 6: Agnes Varda 420
The legacy of the New Wave 421
The French New Wave in the twenty first Century
Conclusion 42b
Further reading
Further viewing 428
Resource centres 428
Glossary 429
Bibliography 451
Index 471
Illustrations
Part 1 title page
Imitation of Life (Douglas Sirk, 1959), Universal/Kobal Collection 1
Part 2 title page
Ftush Hour (Brett Ratner, 1998), New Line/Roger Birnbaum/Kobal
Collection/Bob Marshak 23
Part 3 title page
The Draughtsman s Contract (Peter Greenaway, 1982), BFI/
United Artists/Kobal Collection 59
Part 4 title page
The Incredibles (Brad Bird, 2004), Walt Disney Pictures/Pixar
Animation Studios, Ronald Grant Archive 173
Part 5 title page
Jungte Fever (Spike Lee, 1991), Universal/Kobal Collection 219
Part 6 title page
Love Actually (Richard Curtis, 2003), Universal/DNA/Working
Title/Kobal Collection/Peter Mountain 301
1.1 Film /sf/LOOP TV Video Film 5
1.2 Marilyn/Northwest Film Forum 9
1.3 (a) The Grapes of Wraf/7/Twentieth Century Fox/British Film Institute
(b) Ditched, Stalled, and Stranded. San Joaquin Valley, 1936 ,
Dorothea Lange, Library of Congress 12
1.4 Bill Viola, Man of Sorrows, 2001. Colour video on free standing LCD
flat panel. Photo: Mike Bruce, courtesy Anthony d Offay, London 16
2.1 Waco Theatre/Kobal Collection 26
2.2 Paramount production facility/Kobal Collection 31
2.3 Footlight Parade/Warner Brothers/Kobal Collection 33
2.4 Mildred P/erce/Warner Brothers/Kobal Collection 34
2.5 Twentieth Century Fox widescreen ad/Kobal Collection 36
2.6 G/ad/afor/Dreamworks/Universal, Kobal Collection/Jaap Buitendijk 45
2.7 Hany Potter and the Sorcerer s Sfone/Warner Brothers/Ronald
Grant Archive 48
2.8 Wo Down Paymenf/Twentieth Century Fox/Kobal Collection 50
2.9 rra/nspott/ng/Figment/Noel Gay/Channel 4/Kobal Collection/Liam
Longman 54
2.10 The Blair Witch Pro/ecf/Artisan Entertainment/Kobal Collection 55
3.1 G/ad/ator/Dreamworks/Universal/Kobal Collection 65
3.2 B/actea/nner/British Film Institute 68
3.3 His Girl Friday/Columbia Pictures Corporation/British Film Institute 70
3.4 The Draughtsman s Confracf/Channel 4 Films/British Film Institute 71
3.5 Out of the Past/RKO Radio Pictures/British Film Institute 74
3.6 North by Northwest/MGM/Loew s Inc/British Film Institute 76
3.7 Wild Strawberries/Svensk Filmindustri (SF) AB/British Film Institute 85
3.8 Run Lola ftun/X filme Creative Pool/Westdeutscher Rundfunk
(WDR)/arte/British Film Institute 88
4.1 King Kong: Peter Jackson s Production D/aries/Collector s
Edition/Universal Studios 95
4.2 Broken Flowers/Focus Features/Ronald Grant Archive 105
4.3 In the Mood For /.ove/Block 2 Pictures Ine 106
5.1 Moulin ftouge/Bazmark Films/Ronald Grant Archive 121
5.2 Der Blaue Engel/The Blue /*nge//Universum Film A.G. (UFA) 122
5.3 Moulin flouge/Bazmark Films/Ronald Grant Archive 122
5.4 Gentlemen Prefer 6/onctes/Twentieth Century Fox 122
5.5 Material G/r//Warner Brothers 123
6.1 New! magazine Cover, Issue 165, May 2006/Northern and Shell
Magazines Limited 133
6.2 The Silence of the Lambs/MGM/Orion Picture Corporation/Strong
Heart/Demme Productions 139
6.3 Confacf/Warner Brothers/Ronald Grant Archive 139
6.4 Panic floom/Columbia/Kobal Collection/Merrick Morton 139
6.5 F//g/7tp/an/Touchstone/Kobal Collection 139
7.1 Land G/rts/Intermedia/Camera One/Arena/Kobal
Collection/Paul Chedlow 148
7.2 The Birth of a Naf/on/Epoch/Kobal Collection 150
7.3 The Great Train Robbery/Eü sor Company/British Film Institute 153
7.4 Jungle Fever/Universal/Kobal Collection/David Lee 161
7.5 Pulp F/cf/on/Miramax/Buena Vista/Kobal Collection/Linda R. Chen 163
7.6 Pulp F/cf/on/Miramax/Buena Vista/Kobal Collection/Linda R. Chen 164
7.7 Pulp F/cf/on/Miramax/Buena Vista/Kobal Collection/Linda R. Chen 164
7.8 Armee d un train en gare ä la C/ofaf/Lumiere Brothers/British Film
Institute 168
8.1 Nanook of the A/ort/i/Flaherty/Kobal Collection 17^
8.2 Pendlebury Co///e/y/Mitchell and Kenyon/British Film Institute 179
8.3 Housing Prob/ems/British Commercial Gas Association/Ronald
Grant Archive 181
8.4 Grey Gardens/Portrait Films/Kobal Collection 18^
8.5 Grizzly Man/Discovery Docs/British Film Institute
8.6 TWocters/BBC Films/BBC Photo Archive
9 1 Individual frames from Fast Film/VkgW Widrich Film and Multimedia
Productions 2
9 2 Paper planes from Fast F//m/Virgil Widrich Film and Multimedia 20
9 3 Frame by frame method from Fasf F//m/Virgil Widrich Film and
Multimedia 204
9 4 Playfulness signalled from Fast F/7m/Virgil Widrich Film and
Multimedia 204 J
9 5 Final sequence from Fast F/frn/Virgil Widrich Film and Multimedia 204 ^
9 6 Sa/ance/W.E. Larkins and BBC Productions j
9.7 BalanceAN.E. Larkins and BBC Productions 206
9.8 Fudget s Budget/Steve Bosustow 206
9.9 BalanceAN.E. Larkins and BBC Productions 206
9.10 McCIaren working/Halas Batchelor Collection Ltd 212
9.11 Dope sheet/Halas Batchelor Collection Ltd 213
9.12 A Chairy Ta/e/Halas Batchelor Collection Ltd 213
9.13 Graphic design/Johnny Hardstaff and Sony Entertainment 216
9.14 Controversial imagery/Johnny Hardstaff and Sony Entertainment 216
9.15 Perspectives/Johnny Hardstaff and Sony Entertainment 216
10.1 The Day I Became a Woman/Makhmalbab
Productions/Kobal Collection 222
10.2 Christopher Sfrong/Sidney Box/Ortox Productions/Kobal Collection 224
10.3 Bend It Like Beckham/Tbe Works/Photo: Christine Parry 226
10.4 North By Wort/wesf/Metro Goldwyn Mayer/Kobal Collection 232
10.5 Tomb Raider/Lawrence Gordon/Mutual Film/Paramount
Pictures/Kobal Collection/Photo: Alex Bailey 235
10.6 Yes/Greenstreet Films/UK Film Council/Kobal Collection/Photo:
Nicola Dove 238
10.7 G/ad/afor/Universal/Dreamworks Pictures/Kobal Collection 241
10.8 Fight C/ub/Twentieth Century Fox/Regency/Taurus
Films/Kobal Collection 243
11.1 Un chant d amour/Jean Genet Estate/British Film Institute 254
11.2 Rebecca/Selznick/United Artists/Kobal Collection 255
11.3 Go F/sh/Samuel Goldwyn/Islet Pictures/Kobal Collection 261
11.4 Looking For Langsfon/Sankofa Film and Video/Photographer:
Sunil Gupta 263
11.5 Boys Don t C/y/Bronze Eye/Kobal Collection 265
11.6 Edward ///Palace Pictures/Kobal Collection 268
11.7 Po/son/Bronze Eye/Kobal Collection 269
11.8 Khush/BriWsh Film Institute/Photo: Andrew Cooke 271
12.1 Daughters ofthe Dusf/American Playhouse/WMG/GeeChee/Kobal
Collection 285
12.2 Reckless £yeba///ng/Christopher Harris 290
12.3 The Härder They Come/International Films/New World/Kobal
Collection 294
12.4 Bamboozled/40 Acres and Mule/New Line/Kobal
Collection/David Lee 296
12.5 Bamboozled/40 Acres and Mule/New Line/Kobal
Collection/David Lee 297
13.1 Local films for local people/Mitchell and Kenyon/British Film Institute 305
13.2 The Miller and the Sweep/GA. Smith/British Film Institute 309
13.3 Tansy/Hepworth Picture Plays/British Film Institute 311
13.4 Millions Like L/s/Gainsborough Pictures/British Film Institute 312
13.5 A Kind of LovingMcs Film Productions Ltd/British Film Institute 321
13.6 Letter to Brezhnev/Cbanne 4 Films/Palace Pictures/Yeardream 324
13.7 Love / cfua//y/Universal Pictures/Working Title Films/DNA Films 328
13^ Bullet SoyA/erve Pictures/Kobal Collection 331
14.1 Monsoon Wedding/Mirabai Films/British Film Institute 340
14.2 S/jo/ay/Sippy Films/United Producers/British Film Institute 344
14.3 DU Chahta Hai/Excel Entertainment/Hyphen Films Ltd 349
14.4 Mr. and Mrs. 55/Guru Dutt Films Pvt. Ltd/Hyphen Films Ltd 350
14.5 Bandit Queen/Channel 4 Films/Kaleidoscope
Productions/British Film Institute 355
14.6 Lagaan/Amir Khan Productions/courtesy Hyphen Films Ltd 360
15.1 The Extraordinary Adventures of Mr West in the Land of the
Bolsheviks/Contemporary Films/British Film Institute 373
15.2 Sergei Eisenstein/Contemporary Films/British Film Institute 375
15.3 Sfrite/Contemporary Films/British Film Institute 375
15.4 Sequence from Sfri/re/Contemporary Films/British Film Institute 376 7
15.5 Battleship Potem/c/n/Contemporary Films/British Film Institute 378
15.6 Battleship Pofem/c/n/Contemporary Films/British Film Institute 379
15.7,15.8,
15.9 Battleship Potemkin/Contemporary Films/British Film Institute 379
15.10 October/Contemporary Films/British Film Institute 380
15.11 Old and New or The General L/ne/Contemporary Films/British
Film Institute 381
15.12 The End of St Peferaburg/Contemporary Films/British Film Institute 383
15.13 Extract from FEKS (Factory of the Eccentric Actor) Manifeste, 1922 384
15.14 The New Saby/on/Contemporary Films/British Film Institute 385
15.15 Earth/Contemporary Films/British Film Institute 386
15.16 The Man with the Movie Camera/VUFKU/British Film Institute 390
16.1 Young French directors/British Film Institute 400
16.2 Alfred Hitchcock and Jeanne Moreau/British Film Institute 402
16.3 Roberto Rossellini/British Film Institute 404
16.4 A bout de souffle, Jean Paul Belmondo and Jean
Seberg/British Film Institute 405
16.5 Les Quatre cents coups (The 400 B/otvs)/British Film Institute 409
16.6 La Jetee (The P/e/^/British Film Institute 411
16.7 Agnes Varda directing/British Film Institute 411
16.8 Jean Renoir/British Film Institute 412
16.9 Bridget Bardot and Jeanne Moreau in Viva Marial/Les Productions
Artistes Associes/Nouvelles Editions de Films/Vides
Cinematografica/Kobal Collection 414
16.10 Jean Luc Godard and Anna Karina/British Film Institute 416
16.11 Alphaville/Anna Karina and Eddie Constantine/British Film Institute 419
i
|
| adam_txt |
Contents
List of illustrations xi
Notes on contributors xv
Foreword xvii
BILL NICHOLS
Acknowledgements xix
Introduction to the fourth edition xx
JILL NELMES
How to use this book xxi
Useful features xxi
New features of the fourth edition xxi
Part one: approaches to studying cinema xxii
Part two: cinema as Institution industries, technologies and audiences xxii
Part three: approaches to studying film texts xxii
Part four: other genre forms xxii
Part five: cinema, identities and the politics of representation xxiii
Part six: cinema, nationhood and national identities xxiii
PART ONE: APPROACHES TO STUDYING CINEMA 1
¦ 1 Rediscovering film studies: some fresh starting points 2
PATRICK PHILLIPS
Introduction: film is 3
Non Iinear film history 6
The image as document in time 9
Performance: image and intensity 13
Narrative, realism and the image 18
Conclusion 19
Notes 19
Further reading 21
Further viewing 22
Resource centres 22
PART TWO: CINEMA AS INSTITUTION INDUSTRIES,
TECHNOLOGIES AND AUDIENCES 23
¦ 2 The industrial contexts of film production 24
SEARLE KOCHBERG
Introduction 25
The origins of the American film industry (1900 to 1915) 25
The Studio era of American film (1930 to 1949) 28
Case stuoy 1: Warner Brothers 32
The contemporary film industry (1949 onwards) 35
Case study 2: a US 'Blockbuster' production, Gladiator (2000) 44
Film audiences 4"
Case study 3: Sunn Classic Pictures and psychological testing 53
Case study 4: the youth market and Building an audience for Trainspotting
(1996) 53
Case study 5: Building an audience on the web for The Blair Witch Project
(1999) 54
Conclusion 55
Notes 55
Further reading 57
Further viewing 5^
UK resource addresses 5^
PART THREE: APPROACHES TO STUDYING FILM TEXTS 59
¦ 3 Film form and narrative 60
SUZANNE SPEIDEL
Introducing form and narrative 61
Conventions, Hollywood, art and avant garde cinema 61
Cinematic codes 67
Case study 1: classical Conventions in Gladiator (Ridley Scott, 2000) 82
Case study 2: art and artifice in Wild Strawberries/Smultronstället
(Ingmar Bergman, 1957)
Case study 3: postmodernism and playing Games in Run Lola Run/Lola Rennt
(Tom Tywker, 1998) 86
Further reading 88
Further viewing °
Resource centres ^9
¦ 4 Approaches to cinematic authorship 90
PAUL WATSON
Introduction
The three paradoxes of cinematic authorship
What's the use of authorship?
The Problems of auteur theory 10°
A biographical legend: the commerce of authorship
Towards a pragmatic conception of cinematic authorship
Conclusion 107
Further reading 107
IHR
Further viewing
109
¦ 5 Genre theory and Hollywood cinema
PAUL WATSON
Introduction 11°
Genre theory and Hollywood cinema
Defining genre(s)
Genre as economic strategy
Genre as cognition
From text to intertext: genericity and Moulin Rouge
Rethinking genre: multiplicity and metaphor
Further reading
Further viewing
128
¦ 6 Stardom and Hollywood cinema
PAUL WATSON
129
Introduction: three approaches to stardom
When is a star not a star?
Contemporary Hollywood and 'modes of stardom' _
'The only thing I can't play is a weak, ditzy woman': analysing Jodie Foster
Conclusion 140
Further reading 141
Further viewing 141
Resource centres 142
¦ 7 Spectator, audience and response 143
PATRICK PHILLIPS
Introduction 144
The film spectator 144
The film audience 146
Response studies 147
What we can learn from Early Cinema 149
Case study 1: the response to The Birth of a Nation (D.W. Griffith, 1915) 153
The spectator of theory 156
Response 160
Case study 2: pleasufie and Evaluation Pulp Fiction (Quentin Tarantino. 1994) 162
Mixing approaches 169
Further reading 170
Further viewing 171
Resource centres 171
PART FOUR: OTHER GENRE FORMS 173
¦ 8 The documentary form 174
PAUL WARD
Introduction 175
What is documentary? 175
'Proto documentary' the case of early film actualities 178
Case study 1: the films of Mitchell and Kenyon 178
The shift to narrative structure in documentary 180
John Grierson and the British documentary movement 181
Post war developments in observational documentary 183
Case study 2: Grey Gardens (Maysles Brothers. 1975) 184
The move to performative and reflexive documentary 186
Case study 3: Grizzly Man (Werner Herzog. 2005) 186
Documentary, drama and Performance 188
Case study 4: Twockers (Pawel Pawlikowski and Ian Duncan, 1998) 189
Summary 191
Further reading 191
Further viewing 191
Resource centres 192
¦ 9 The language of animation 193
PAUL WELLS
Introduction 194
What is animation? 195
Early animation 197
The legacy of Disney 199
Case study 1: deconstructing the cartoon: Duck Amuck (Chuck Jones, 1953) 200
Case study 2: animation as a self reflexive language: Fast Film
(Virgil Widrich. 2003) 203
Perpetual 'modernity' 205
Case study 3: recalung and revising animation Tradition: The Ren and
Stimpy Show 207
The impact of anime 209
Case study 4: Hayao Miyazaki 209
Case study 5: Norman McLaren 211
Computers and convergence 214
Further reading 217
917
Further viewing
Resource centres 2~I8
PART FIVE: CINEMA, IDENTITIES AND THE POLITICS OF
REPRESENTATION 219
¦ 1O Gender and film 22°
JILL NELMES
pp 1
Introduction
opp
Women and film
No Job for a woman a history of women in film 223
The feminist revolution "6
pp7
Feminist film theory and practice '
Representation of gender and sexuality 230
Reassessing feminist film theory
Case study 1: Sally Potter, filmmaker 236
Gender theory and theories of masculinity 239
Case study 2: Fight Club (David Fincher, 1999) 2
949
Conclusion
Notes 249
QAQ
Further reading
Further viewing
Resource centres
¦ 11 Lesbian and gay cinema
CHRIS JONES
253
Introduction: representation
Definitions and developments: changing language
Audiences
255
Film festivals an historical overview
256
Gay sensibility
Camp aesthetics and cinema
Critical re readings
Some queer films
Case stuoy 1: Looking for Langston (Isaac Julien, 1994)
Case stuoy 2: Boys Don't Cry (Kimberly Peirce, 1999)
A queer diversity
Conclusion: the way forward
Further reading
Further viewing
Resource centres
¦ 12 Ethnicity, race, and cinema African American film 279
TERRI FRANCIS
Introduction
Ethnicity, race, and film
African American film history
African American migration narratives „g
The double truth, ruth' 7
Stereotypes Q
Racism
Whiteness f
Genre ^
Case stuoy 1: from Zora Neale Hurston Fieldwork Footage (National Film
Preservation Foundation, 2004) 2Q4
Case study 2: The Härder They Come (Perry Henzell, 1972) 5
Case study 3: Bamboozled (Spike Lee, 2000) „g8
Conclusion
Further reading 298
Further viewing 299
Resource centres 300
PART SIX: CINEMA, NATIONHOOD AND NATIONAL
IDENTITIES 301
Studying national cinema: case studies 302
¦ 13 British cinema 302
LAWRENCE NAPPER
Defining British cinema 303
From pioneering to protection 305
Depression and war 312
Golden age to New Wave 317
Decline and revival 322
Case study 1: Love Actually (Richard Curtis, 2003) 327
Case study 2: Bullet Boy (Saul Dibb, 2004) 330
Note 333
Further reading 333
Further viewing 333
Resource centres 334
¦ 14 Indian cinema 335
LALITHA GOPALAN
Introduction 336
Production and reception conditions 337
Case study 1: Monsoon Wedding (Mira Nair, 2002) 339
Writing on Indian cinema 341
Genre and form 342
Case study 2: Sholay (Ramesh Sippy, 1975) 343
Song and dance sequences 345
Love Story 347
Case study 3: Bombay (Mani Ratnam, 1995) 347
Case study 4: Dil Chahta Hai/What the Heart Desires (Farhan Akhtar, 2001) 348
Case study 5: Guru Dutt 349
Interval 351
Gangster fllms 352
Case study 6: Satya (Ramgopal Varma, 1998) 353
Censorship 353
The woman's film 354
Case study 7: Bandit Queen (Shekhar Kapur, 1994) and Fifie (Deepa Mehta,
1998) 355
Foundational fictions of the post colonial nation 356
Case study 8: Hey! Ram (Kamal Haasan, 1999) 356
Case study 9: Lagaan/Tax (Ashutosh Gowrikar, 2001) 359
Conclusion 360
Notes 361
Further reading 361
Further viewing 362
Resource centres 362
National cinemas: art, politics and the avant garde 364
¦ 15 The Soviet montage cinema of the 192Os 364
MARK JOYCE
Introduction: why study the Soviet cinema? 365
Historical background 365
Pre revolutionary Russian cinema 366
Soviet cinema and ideology: film as agent of change 367
Economics of the Soviet film industry 368
Form: montage 369
Other features of Soviet montage cinema 371
The key Soviet montage filmmakers of the 1920s 372
Case study 1: Lev Kuleshov, The Extraordinary Adventures of Mr West in
the Land of the Bolsheviks (1924) 373
Case study 2: Sergei Eisenstein, Strike (1924); Battleship Potemkin (1925);
October (1927); Old And New (1929) 374
Case study 3: Vsevolod Pudovkin, The Mother (1926); The End of
St Petersburg (1927) 382
Case study 4: Alexander Dovzhenko, Arsenal (1929); Earth (1930) 386
Case study 5: Dziga Vertov, The Man with the Movie Camera (1929) 388
Case study 6: Esfir Shub. The Fall of the Romanov Dynasty (1927) 391
Audience response 391
Theoretical debates: montage versus realism 392
PostScript to the 1920s 393
Notes 394
Further reading 395
Further viewing 3
OQ7
Resource centres °
¦ 16 The French New Wave 398
CHRIS DARKE
Introduction 3
Postwar French film culture 400
Film criticism
Case study 1: A bout de souffle (Breathless, Jean Luc Godard, 1960) 405
The production context of the New Wave 406
Case study 2: Les Ouatre Cents coups (The Four Hundred Blows, Francois
Truffaut, 1959) 408
New directors, new producers
Case study 3: La Jetee (The Pier, Chris Marker, 1962) 410
Case study 4: Cleo de 5 ä 7 (Cleo fpom 5 to 7, Agnes Varda, 1961) 412
Characteristics of New Wave cinema
Case study 5: Jean Luc Godard
Case study 6: Agnes Varda 420
The legacy of the New Wave 421
The French New Wave in the twenty first Century
Conclusion 42b
Further reading
Further viewing 428
Resource centres 428
Glossary 429
Bibliography 451
Index 471
Illustrations
Part 1 title page
Imitation of Life (Douglas Sirk, 1959), Universal/Kobal Collection 1
Part 2 title page
Ftush Hour (Brett Ratner, 1998), New Line/Roger Birnbaum/Kobal
Collection/Bob Marshak 23
Part 3 title page
The Draughtsman's Contract (Peter Greenaway, 1982), BFI/
United Artists/Kobal Collection 59
Part 4 title page
The Incredibles (Brad Bird, 2004), Walt Disney Pictures/Pixar
Animation Studios, Ronald Grant Archive 173
Part 5 title page
Jungte Fever (Spike Lee, 1991), Universal/Kobal Collection 219
Part 6 title page
Love Actually (Richard Curtis, 2003), Universal/DNA/Working
Title/Kobal Collection/Peter Mountain 301
1.1 Film /sf/LOOP TV Video Film 5
1.2 Marilyn/Northwest Film Forum 9
1.3 (a) The Grapes of Wraf/7/Twentieth Century Fox/British Film Institute
(b) 'Ditched, Stalled, and Stranded. San Joaquin Valley, 1936',
Dorothea Lange, Library of Congress 12
1.4 Bill Viola, Man of Sorrows, 2001. Colour video on free standing LCD
flat panel. Photo: Mike Bruce, courtesy Anthony d'Offay, London 16
2.1 Waco Theatre/Kobal Collection 26
2.2 Paramount production facility/Kobal Collection 31
2.3 Footlight Parade/Warner Brothers/Kobal Collection 33
2.4 Mildred P/erce/Warner Brothers/Kobal Collection 34
2.5 Twentieth Century Fox widescreen ad/Kobal Collection 36
2.6 G/ad/afor/Dreamworks/Universal, Kobal Collection/Jaap Buitendijk 45
2.7 Hany Potter and the Sorcerer's Sfone/Warner Brothers/Ronald
Grant Archive 48
2.8 Wo Down Paymenf/Twentieth Century Fox/Kobal Collection 50
2.9 rra/nspott/ng/Figment/Noel Gay/Channel 4/Kobal Collection/Liam
Longman 54
2.10 The Blair Witch Pro/ecf/Artisan Entertainment/Kobal Collection 55
3.1 G/ad/ator/Dreamworks/Universal/Kobal Collection 65
3.2 B/actea/nner/British Film Institute 68
3.3 His Girl Friday/Columbia Pictures Corporation/British Film Institute 70
3.4 The Draughtsman's Confracf/Channel 4 Films/British Film Institute 71
3.5 Out of the Past/RKO Radio Pictures/British Film Institute 74
3.6 North by Northwest/MGM/Loew's Inc/British Film Institute 76
3.7 Wild Strawberries/Svensk Filmindustri (SF) AB/British Film Institute 85
3.8 Run Lola ftun/X filme Creative Pool/Westdeutscher Rundfunk
(WDR)/arte/British Film Institute 88
4.1 King Kong: Peter Jackson's Production D/aries/Collector's
Edition/Universal Studios 95
4.2 Broken Flowers/Focus Features/Ronald Grant Archive 105
4.3 In the Mood For /.ove/Block 2 Pictures Ine 106
5.1 Moulin ftouge/Bazmark Films/Ronald Grant Archive 121
5.2 Der Blaue Engel/The Blue /*nge//Universum Film A.G. (UFA) 122
5.3 Moulin flouge/Bazmark Films/Ronald Grant Archive 122
5.4 Gentlemen Prefer 6/onctes/Twentieth Century Fox 122
5.5 Material G/r//Warner Brothers 123
6.1 New! magazine Cover, Issue 165, May 2006/Northern and Shell
Magazines Limited 133
6.2 The Silence of the Lambs/MGM/Orion Picture Corporation/Strong
Heart/Demme Productions 139
6.3 Confacf/Warner Brothers/Ronald Grant Archive 139
6.4 Panic floom/Columbia/Kobal Collection/Merrick Morton 139
6.5 F//g/7tp/an/Touchstone/Kobal Collection 139
7.1 Land G/rts/Intermedia/Camera One/Arena/Kobal
Collection/Paul Chedlow 148
7.2 The Birth of a Naf/on/Epoch/Kobal Collection 150
7.3 The Great Train Robbery/Eü\sor\ Company/British Film Institute 153
7.4 Jungle Fever/Universal/Kobal Collection/David Lee 161
7.5 Pulp F/cf/on/Miramax/Buena Vista/Kobal Collection/Linda R. Chen 163
7.6 Pulp F/cf/on/Miramax/Buena Vista/Kobal Collection/Linda R. Chen 164
7.7 Pulp F/cf/on/Miramax/Buena Vista/Kobal Collection/Linda R. Chen 164
7.8 Armee d'un train en gare ä la C/ofaf/Lumiere Brothers/British Film
Institute 168
8.1 Nanook of the A/ort/i/Flaherty/Kobal Collection 17^
8.2 Pendlebury Co///e/y/Mitchell and Kenyon/British Film Institute 179
8.3 Housing Prob/ems/British Commercial Gas Association/Ronald
Grant Archive 181
8.4 Grey Gardens/Portrait Films/Kobal Collection 18^
8.5 Grizzly Man/Discovery Docs/British Film Institute
8.6 TWocters/BBC Films/BBC Photo Archive
9 1 Individual frames from Fast Film/VkgW Widrich Film and Multimedia
Productions 2
9 2 Paper planes from Fast F//m/Virgil Widrich Film and Multimedia 20
9 3 Frame by frame method from Fasf F//m/Virgil Widrich Film and
Multimedia 204
9 4 Playfulness signalled from Fast F/7m/Virgil Widrich Film and
Multimedia 204 J
9 5 Final sequence from Fast F/frn/Virgil Widrich Film and Multimedia 204 ^
9 6 Sa/ance/W.E. Larkins and BBC Productions j
9.7 BalanceAN.E. Larkins and BBC Productions 206
9.8 Fudget's Budget/Steve Bosustow 206
9.9 BalanceAN.E. Larkins and BBC Productions 206
9.10 McCIaren working/Halas Batchelor Collection Ltd 212
9.11 Dope sheet/Halas Batchelor Collection Ltd 213
9.12 A Chairy Ta/e/Halas Batchelor Collection Ltd 213
9.13 Graphic design/Johnny Hardstaff and Sony Entertainment 216
9.14 Controversial imagery/Johnny Hardstaff and Sony Entertainment 216
9.15 Perspectives/Johnny Hardstaff and Sony Entertainment 216
10.1 The Day I Became a Woman/Makhmalbab
Productions/Kobal Collection 222
10.2 Christopher Sfrong/Sidney Box/Ortox Productions/Kobal Collection 224
10.3 Bend It Like Beckham/Tbe Works/Photo: Christine Parry 226
10.4 North By Wort/wesf/Metro Goldwyn Mayer/Kobal Collection 232
10.5 Tomb Raider/Lawrence Gordon/Mutual Film/Paramount
Pictures/Kobal Collection/Photo: Alex Bailey 235
10.6 Yes/Greenstreet Films/UK Film Council/Kobal Collection/Photo:
Nicola Dove 238
10.7 G/ad/afor/Universal/Dreamworks Pictures/Kobal Collection 241
10.8 Fight C/ub/Twentieth Century Fox/Regency/Taurus
Films/Kobal Collection 243
11.1 Un chant d'amour/Jean Genet Estate/British Film Institute 254
11.2 Rebecca/Selznick/United Artists/Kobal Collection 255
11.3 Go F/sh/Samuel Goldwyn/Islet Pictures/Kobal Collection 261
11.4 Looking For Langsfon/Sankofa Film and Video/Photographer:
Sunil Gupta 263
11.5 Boys Don 't C/y/Bronze Eye/Kobal Collection 265
11.6 Edward ///Palace Pictures/Kobal Collection 268
11.7 Po/son/Bronze Eye/Kobal Collection 269
11.8 Khush/BriWsh Film Institute/Photo: Andrew Cooke 271
12.1 Daughters ofthe Dusf/American Playhouse/WMG/GeeChee/Kobal
Collection 285
12.2 Reckless £yeba///ng/Christopher Harris 290
12.3 The Härder They Come/International Films/New World/Kobal
Collection 294
12.4 Bamboozled/40 Acres and Mule/New Line/Kobal
Collection/David Lee 296
12.5 Bamboozled/40 Acres and Mule/New Line/Kobal
Collection/David Lee 297
13.1 Local films for local people/Mitchell and Kenyon/British Film Institute 305
13.2 The Miller and the Sweep/GA. Smith/British Film Institute 309
13.3 Tansy/Hepworth Picture Plays/British Film Institute 311
13.4 Millions Like L/s/Gainsborough Pictures/British Film Institute 312
13.5 A Kind of LovingMcs Film Productions Ltd/British Film Institute 321
13.6 Letter to Brezhnev/Cbanne\ 4 Films/Palace Pictures/Yeardream 324
13.7 Love /\cfua//y/Universal Pictures/Working Title Films/DNA Films 328
13^ Bullet SoyA/erve Pictures/Kobal Collection 331
14.1 Monsoon Wedding/Mirabai Films/British Film Institute 340
14.2 S/jo/ay/Sippy Films/United Producers/British Film Institute 344
14.3 DU Chahta Hai/Excel Entertainment/Hyphen Films Ltd 349
14.4 Mr. and Mrs. 55/Guru Dutt Films Pvt. Ltd/Hyphen Films Ltd 350
14.5 Bandit Queen/Channel 4 Films/Kaleidoscope
Productions/British Film Institute 355
14.6 Lagaan/Amir Khan Productions/courtesy Hyphen Films Ltd 360
15.1 The Extraordinary Adventures of Mr West in the Land of the
Bolsheviks/Contemporary Films/British Film Institute 373
15.2 Sergei Eisenstein/Contemporary Films/British Film Institute 375
15.3 Sfrite/Contemporary Films/British Film Institute 375
15.4 Sequence from Sfri/re/Contemporary Films/British Film Institute 376 7
15.5 Battleship Potem/c/n/Contemporary Films/British Film Institute 378
15.6 Battleship Pofem/c/n/Contemporary Films/British Film Institute 379
15.7,15.8,
15.9 Battleship Potemkin/Contemporary Films/British Film Institute 379
15.10 October/Contemporary Films/British Film Institute 380
15.11 Old and New or The General L/ne/Contemporary Films/British
Film Institute 381
15.12 The End of St Peferaburg/Contemporary Films/British Film Institute 383
15.13 Extract from FEKS (Factory of the Eccentric Actor) Manifeste, 1922 384
15.14 The New Saby/on/Contemporary Films/British Film Institute 385
15.15 Earth/Contemporary Films/British Film Institute 386
15.16 The Man with the Movie Camera/VUFKU/British Film Institute 390
16.1 Young French directors/British Film Institute 400
16.2 Alfred Hitchcock and Jeanne Moreau/British Film Institute 402
16.3 Roberto Rossellini/British Film Institute 404
16.4 A bout de souffle, Jean Paul Belmondo and Jean
Seberg/British Film Institute 405
16.5 Les Quatre cents coups (The 400 B/otvs)/British Film Institute 409
16.6 La Jetee (The P/e/^/British Film Institute 411
16.7 Agnes Varda directing/British Film Institute 411
16.8 Jean Renoir/British Film Institute 412
16.9 Bridget Bardot and Jeanne Moreau in Viva Marial/Les Productions
Artistes Associes/Nouvelles Editions de Films/Vides
Cinematografica/Kobal Collection 414
16.10 Jean Luc Godard and Anna Karina/British Film Institute 416
16.11 Alphaville/Anna Karina and Eddie Constantine/British Film Institute 419
i |
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| illustrated | Illustrated |
| index_date | 2024-07-02T17:58:27Z |
| indexdate | 2024-07-09T20:59:08Z |
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| isbn | 9780415409285 9780415409292 0415409284 0415409292 |
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| publisher | Routledge |
| record_format | marc |
| spelling | Introduction to film studies ed. by Jill Nelmes Film studies 4th. ed. London [u.a.] Routledge 2007 XXIII, 478 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Filmkunst gtt Filmtheorie gtt Film Motion pictures Filmwissenschaft (DE-588)4154385-3 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf (DE-588)4123623-3 Lehrbuch gnd-content Filmwissenschaft (DE-588)4154385-3 s DE-604 Film (DE-588)4017102-4 s 1\p DE-604 Nelmes, Jill 1954- Sonstige (DE-588)133620433 oth http://www.loc.gov/catdir/toc/ecip0619/2006026119.html Table of contents only HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015715381&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 |
| spellingShingle | Introduction to film studies Filmkunst gtt Filmtheorie gtt Film Motion pictures Filmwissenschaft (DE-588)4154385-3 gnd Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4154385-3 (DE-588)4017102-4 (DE-588)4123623-3 |
| title | Introduction to film studies |
| title_alt | Film studies |
| title_auth | Introduction to film studies |
| title_exact_search | Introduction to film studies |
| title_exact_search_txtP | Introduction to film studies |
| title_full | Introduction to film studies ed. by Jill Nelmes |
| title_fullStr | Introduction to film studies ed. by Jill Nelmes |
| title_full_unstemmed | Introduction to film studies ed. by Jill Nelmes |
| title_short | Introduction to film studies |
| title_sort | introduction to film studies |
| topic | Filmkunst gtt Filmtheorie gtt Film Motion pictures Filmwissenschaft (DE-588)4154385-3 gnd Film (DE-588)4017102-4 gnd |
| topic_facet | Filmkunst Filmtheorie Film Motion pictures Filmwissenschaft Lehrbuch |
| url | http://www.loc.gov/catdir/toc/ecip0619/2006026119.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015715381&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT nelmesjill introductiontofilmstudies AT nelmesjill filmstudies |