Verfügbarkeit: An introduction to film studies

An introduction to film studies:

Gespeichert in:

Bibliographische Detailangaben
Weitere Verfasser:	Nelmes, Jill 1954- (HerausgeberIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	London <<[u.a.]>> Routledge 2003
Ausgabe:	3. ed.
Schlagworte:	Film Motion pictures Filmwissenschaft Einführung Lehrbuch
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	XXV, 500 S. Ill.
ISBN:	0415262690 0415262682

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Datensatz im Suchindex

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adam_text	Titel: An introduction to film studies Autor: Nelmes, Jill Jahr: 2003 Contents List of illustrations xi Notes on contributors xvi Acknowledgements xviii ¦ Introduction to the third edition xix JILL NELMES How to use this book xxi Useful features xxi New features of the third edition xxi Part one: institutions and audiences xxii Part two: approaches to studying film texts xxii Part three: genre forms - realism and illusion xxiii Part four: representation of gender and sexuality xxiv Part five: national cinemas xxiv PART ONE: INSTITUTIONS AND AUDIENCES 1 ¦ 1 Cinema as institution 3 SEARLE KOCHBERG Introduction 4 The origins of the American film industry (1900-14) 4 The studio era of American film (1930-49) 7 Case study 1: Warner Brothers 11 The contemporary film industry (1949 onwards) 16 Case study 2: a US blockbuster production - Gladiator (Ridley Scott, 2000) 26 Case study 3: a medium-budget UK production - The Crying Game (Neil Jordan, 1992) 29 Film audiences 33 Case study 4: Sunn Classic Pictures and psychological testing 38 Case study 5: the youth market and building an audience for Trainspotting (Danny Boyle, 1996) 38 Case study 6: building audiences on the web for The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999) 39 Censorship and classification 40 Case study 7: US - The Hays Code 42 Case study 8: contemporary USA - recent moral panics 43 Case study 9: UK censorship - the interwar years and the Second World War 44 Case study 10: contemporary UK - Crash (David Cronenberg, 1996) 45 Conclusion 46 Notes 46 Key texts 48 Further viewing 49 Resource centres 50 PART TWO: APPROACHES TO STUDYING FILM TEXTS 51 ¦ 2 Film form and narrative 53 ALLAN ROWE AND PAUL WELLS Introduction: understanding cinema and storytelling 54 Case study 1: Spider-Man (Sam Raimi, 2002) 55 The reading of film 59 Case study 2: the beginning of Keaton s The General (1925) 60 Cinematic codes 62 Narrative 78 Alternative narratives 84 Case study 3: an alternative text - Memento (Christopher Nolan, 2000) 87 Key texts 89 Further viewing 90 Resource centres 90 ¦ 3 Spectator, audience and response 91 PATRICK PHILLIPS Introduction 92 The film spectator 92 The film audience 94 Response studies 95 What we can learn from Early Cinema 97 Case study 1: the response to The Birth of a Nation (D. W. Griffith, 1915) 101 The passive spectator 105 The active spectator 108 Response: the negotiating spectator 110 Case study 2: pleasure and evaluation - Pulp Fiction (Quentin Tarantino, 1994) 116 Mixing approaches 124 Some notes on censorship and regulation 124 A model 126 Further reading 127 Further viewing 128 Resource centres 128 ¦ 4 Critical approaches to Hollywood cinema: authorship, genre and stars 129 PAUL WATSON Introduction 130 Authorship and Hollywood cinema 131 Introduction: the three paradoxes of cinematic authorship 131 The allure of authorship 134 The emergence of the auteur 134 The problems of auteur theory 137 The commerce of authorship 139 Towards a pragmatic conception of cinematic authorship 140 Conclusion 141 Case study 1: director-as-author - Jim Jarmusch 142 Case study 2: corporate authorship - Industrial Light and Magic (ILM) 148 Genre and Hollywood cinema 151 Introduction: what is genre and why study it? 151 Genre, Hollywood and film theory 152 Defining genre (s) 153 Rethinking genre as metaphor 162 Case study 3: The Matrix (Wachowski Brothers, 1999) 163 Stars and Hollywood cinema 169 Introduction: three approaches to stardom 169 When is a star not a star? 171 Case study 4: Jodie Foster 178 Key texts 181 Further viewing 182 Resource centres 183 PART THREE: GENRE FORMS - REALISM AND ILLUSION 185 ¦ 5 The documentary form: personal and social realities 187 PAUL WELLS Introduction 188 What is documentary? 189 Some developments in non-fiction film 191 From travelogue to authored documentary 192 Case study 1: Robert Flaherty 192 From social commentary to propaganda to poetic actuality 194 Case study 2: Humphrey Jennings 195 Propaganda as documentary myth 196 Case study 3: Leni Riefenstahl 197 From documentary bias to Direct Cinema and cinema verite 199 Case study 4: Frederick Wiseman 202 From radical documentary to docusoap and dilemma 203 Case study 5: Gillian Wearing 207 Case study 6: Ken Burns 209 Notes 210 Key texts 210 Further viewing 211 Resource centres 211 ¦ 6 Animation: forms and meanings 213 PAUL WELLS Introduction 214 What is animation? 214 Early animation 215 The legacy of Disney 217 Case study 1: deconstructing the cartoon - Duck Amuck (Chuck Jones, 1953) 218 Case study 2: animation as a self-reflexive language - Girls Night Out (Joanna Ouinn, 1986) 221 Perpetual modernity 223 Case study 3: challenging animation orthodoxies - Neighbours (Norman McLaren, 1952) 225 Case study 4: recalling and revising animation tradition - The Ren Stimpy Show 226 Case study 5: adult animation - Ghost in the Shell (Mamoru Oshii, 1995) 228 Continuing to experiment 229 Case study 6: A Colour Box (Len Lye, 1935) 230 Case study 7: Deaosy (David Anderson, 1990) 231 Computers and convergence 232 Case study 8: mainstreaming the marginal - Shrek (Andrew Adamson and Vicky Jenson, 2001) 233 Conclusion 236 Notes 236 Further reading 237 Further viewing 237 Resource centres 237 PART FOUR: REPRESENTATION OF GENDER AND SEXUALITY 239 ¦ 7 Gender and film 241 JILL NELMES Introduction 242 Women and film 243 No job for a woman - a history of women in film 243 The feminist revolution 247 Feminist film theory and practice 249 Reassessing feminist film theory 253 Case study 1: Sally Potter, film-maker 258 Case study 2: The Piano (Jane Campion, 1993) 261 Gender theory and theories of masculinity 264 Masculinity as unproblematic 264 Playing with gender 266 The male body 267 Male anxiety: masculinity in crisis 269 The new man? 269 Fatherhood and the family 270 Womb envy 271 Hurt, agony, pain - love it: the masochistic spectator 272 Case study 3: Fight Club (David Fincher, 1999) 273 Conclusion 275 Notes 276 Key texts 276 Further viewing 277 Resource centres 277 ¦ 8 Lesbian and gay cinema 279 CHRIS JONES Introduction: representation 280 Definitions and developments: homosexual and gay 280 Audiences 282 Lesbian and gay film festivals 283 Gay sensibility 285 Camp aesthetics and cinema 286 Critical re-readings 287 Some films with gay/lesbian themes 291 Case study 1: Desert Hearts (Donna Deitsch, 1985) 292 Case study 2: Looking for Langston (Isaac Juuen, 1994) 295 Case study 3: Go Fish (Rose Troche, 1994) 298 Case study 4: The Hanging Garden (Thom Fitzgerald, 1997) 301 Case study 5: Happy Together (Wong Kar Wai, 1997) 304 Conclusion: a queer diversity 309 Key texts 314 Further viewing 315 Resource centres 317 PART FIVE: NATIONAL CINEMAS 319 ¦ 9 Marking out the territory: aspects of British cinema 321 AMY SARGEANT Introduction: defining a national cinema 322 Beginning and continuing 322 Crossing the pond 326 Continental drift 331 Town, country and coast 334 Community and nation 340 Intermedial raids and exchanges 346 Case study 1: West End Girls - wonderland (1999) and Bridget jones s diary (2001) 352 Case study 2: East End Boys - The British gangster film post 1990 354 Notes 356 Further reading 356 Further viewing 357 Resource centres 358 ¦ 1O Indian cinema 359 LALITHA GOPALAN Introduction 360 Production and reception conditions 361 Case study 1: Monsoon Wedding (Mira Nair, 2002) 364 Writing on Indian cinema 365 Genre and form 366 Case study 2: Sholay (Ramesh Sippy, 1975) 368 Song and dance sequences 370 Love story 372 Case study 3: Bombay (Mani Ratnam, 1995) 372 Case study 4: Dil Chahta Hai / What the Heart Desires (Farhan Akhtar, 2001) 373 Interval 374 Gangster films 376 Case study 5: Satya (Ram Gopal Varma. 1998) 377 Censorship 377 The woman s film 378 Case study 6: Bandit Queen (Shekhar Kapur, 1994) and Fire (Deepa Mehta, 1998) 379 Case study 7: Housefull (Parthiban, 1999) 381 Foundational fictions of the post-colonial nation 381 Case study 8: Hey! Ram (Kamal Haasan, 1999) 382 Case study 9: Lagaan / Tax (Ashutosh Gowrikar, 2001) 385 Conclusion 386 Notes 387 Further reading 388 Further viewing 388 Resource centres 388 ¦ 11 The Soviet montage cinema of the 1920s 389 MARK JOYCE Introduction: why study the Soviet cinema? 390 Historical background 390 Pre-revolutionary Russian cinema 391 Soviet cinema and ideology: film as agent of change 392 Economics of the Soviet film industry 393 Form: montage 394 Other features of Soviet montage cinema 397 The key Soviet montage film-makers of the 1920s 398 Case study 1: Lev Kuleshov, The Extraordinary Adventures of Mr West in the Land of the Bolsheviks (1924) 399 Case study 2: Serge/ Eisenstein, Strike (1924); Battleship Potemkin (1925); October (1927); Old and New (1929) 400 Case study 3: Vsevolod Pudovkin, The Mother (1926); The End of St Petersburg (1927) 409 Case study 4: Alexander Dovzhenko, Arsenal (1929); Earth (1930) 412 Case study 5: Esfir Shub, The Fall of the Romanov Dynasty (1927) 415 Audience response 415 Theoretical debates: montage versus realism 416 Postscript to the 1920s 416 Notes 418 Further reading 419 Further viewing 419 Resource centres 420 ¦ 12 The French New Wave 421 CHRIS DARKE Introduction 422 Postwar French film culture 423 Film criticism 424 Case study 1: A bout de souffle (Breathless, Jean-Luc Godard, 1960) 428 The production context of the New Wave 429 Case study 2: Les Quatre cents coups (The Four Hundred Blows, Francois Truffaut, 1959) 432 New directors, new producers 433 Case study 3: La Jetee (The Pier, Chris Marker, 1962) 434 Case study 4: Cleo de 5 a 7 (Cleo from 5 to 7, Agnes Varda, 1961) 435 Characteristics of New Wave cinema 436 Case study 5: Jean-Luc Godard 442 Case study 6: Agnes Varda 444 The legacy of the New Wave 445 Conclusion 448 Further reading 449 Further viewing 450 Resource centres 450 Glossary 451 Bibliography 469 Index 483 Illustrations Part 1 title page Le Voyage dans la Lune, Star Film Studio, courtesy Kobal collection 1 Part 2 title page Rush Hour, New Line Cinema, courtesy Kobal collection 51 Part 3 title page The Thin Blue Line, American Playhouse/Miramax Films, courtesy British Film Institute 185 Part 4 title page Happy Together, Artificial Eye, courtesy Kobal Collection 239 Part 5 title page A bout de souffle {Breathless, Godard, 1960), Optimum Releasing, courtesy British Film Institute 319 1.1 Nickelodeon in New York City, courtesy Kobal Collection 5 1.2 Paramount production facility, Paramount Pictures, courtesy Kobal Collection 10 1.3 Vitaphone sound system, courtesy Kobal Collection 12 1.4 Footlight Parade, Warner Bros, courtesy Kobal Collection 13 1.5 Jezebel, Warner Bros, courtesy Kobal Collection 14 1.6 Mildred Pierce, Warner Bros, courtesy Kobal Collection 15 1.7 Early 1950s ad for the (then) new widescreen Cinemascope system, Twentieth Century Fox, courtesy Kobal Collection 17 1.8 Gladiator, Universal/DreamWorks Pictures, courtesy Kobal Collection 26 1.9 Poster for The Crying Game, Polygram Filmed Entertainment/ Pictorial Press, courtesy Kobal Collection 29 1.10 Harry Potter and the Sorcerer s Stone, Warner Bros, courtesy Kobal Collection 32 1.11 Queue outside the Odeon Theatre, Leicester Square, courtesy Kobal Collection 34 1.12 No Down Payment, Twentieth Century Fox, courtesy Kobal Collection 35 1.13 Trainspotting, Figment/Noel Gay/Channel 4, courtesy Kobal Collection 38 1.14 The Blair Witch Project, Artisan Entertainment, courtesy Kobal Collection 39 1.15 Crash, Columbia TriStar, courtesy Kobal Collection 45 2.1 Spider-Man, Columbia Pictures, courtesy British Film Institute 56 2.2 The General, Buster Keaton Productions/United Artists, courtesy Kobal Collection 62 2.3 Shane, Paramount Pictures, courtesy Kobal Collection 64 2.4 Johnny Guitar, Republic, courtesy Kobal Collection 64 2.5 All that Heaven Allows, Universal-International, courtesy Kobal Collection 65 2.6 Strangers on a Train, Warner Bros, courtesy Kobal Collection 66 2.7-8 Mildred Pierce, Warner Bros, courtesy Kobal Collection 68 2.9 The Last Seduction, ITC Entertainment Group, courtesy Kobal Collection 71 2.10 Psycho, Paramount Pictures, courtesy Kobal Collection 76 2.11 Vertigo, Paramount Pictures, courtesy Kobal Collection 81 2.12 The Searchers, Warner Bros, courtesy Kobal Collection 82 2.13 The French Lieutenant s Woman, United Artists, courtesy Kobal Collection 84 2.14-15 Rashomon, Daiei Films, courtesy Kobal Collection 86 2.16 Memento, I Remember Productions, Lie/New Market Capital Group/Team Todd, courtesy British Film Institute 87 3.1 Land Girls, Intermedia/Camera One/Arena, Courtesy Kobal Collection 96 3.2 The Great Train Robbery, Edison Company, courtesy British Film Institute 98 3.3 The Birth of a Nation, Epoch, courtesy Kobal Collection 104 3.4 Apocalypse Now, Zoetrope Studios, courtesy British Film Institute 111 3.5 Natural Born Killers, Warner Bros/J.D. Productions/lxtlan Productions/ New Regency Pictures, courtesy British Film Institute 111 3.6 Fight Club, Twentieth Century Fox, courtesy Kobal Collection 113 3.7-9 Pulp Fiction, A Band Apart/Jersey Films/Miramax Films, courtesy British Film Institute 118-119 3.10 Arrivee d un train en gare a la Ciotat, Lumiere Brothers, courtesy British Film Institute 123 4.1 Night on Earth, JVC/Victor/Pyramide/Cana! +/Pandora/Channel 4, courtesy Kobal Collection 145 4.2 Dead Man, 12 Gauge Productions/Pandora, courtesy Kobal Collection 146 4.3 Artificial Intelligence: Al, Amblin/Dreamworks/Stanley Kubrik/ Warner Bros, images courtesy ILM and the Kobal Collection 150 4.4 Moulin Rouge, Twentieth Century Fox, courtesy British Film Institute 162 4.5 The Matrix, Groucho II Film Partnership/Silver Pictures/Village Roadshow Productions, courtesy Kobal Collection 166 4.6 The Matrix, Groucho II Film Partnership/Silver Pictures/Village Roadshow Productions, courtesy Kobal Collection 168 4.7 Now magazine cover, photo by Paul Watson 173 4.8 Panic Room, Columbia Pictures, courtesy Kobal Collection 180 4.9 The Silence of the Lambs, Image Entertainment, courtesy Kobal Collection 180 5.1 Nanook of the North, United Artists, courtesy Kobal Collection 193 5.2 Moana: A Romance of the Golden Age, Paramount, courtesy British Film Institute 193 5.3-5 Triumph des Willens, Universum Film Aktiengellschaft (UFA), courtesy British Film Institute 198 5.6 Woodstock, Warner Bros, courtesy Kobal Collection 201 5.7 High School, Warner Bros, courtesy Kobal Collection 203 5.8 Rush to Judgement, Emile de Antonio, courtesy British Film Institute 204 5.9 The Thin Blue Line, American Playhouse/Miramax Films, courtesy British Film Institute 205 5.10 Neighbours from Hell, Carlton International Media Limited, courtesy British Film Institute 206 5.11 Signs That Say What You Want Them To Say and Not Signs That Someone Else Wants You to Say (1992-3), Gillian Wearing 207 6.1 Gertie the Dinosaur, Winsor McCay, courtesy Kobal Collection 216 6.2 Daffy Duck in Bugs Bunny, Walt Disney Productions, courtesy Kobal Collection 219 8.3 Girls Night Out, Joanna Quinn (photographer), courtesy British Film Institute 222 6.4 Neighbours, National Film Board of Canada, courtesy British Film Institute 224 6.5 Ghost in the Shell, Shirow/Kodansha/Bandai Visual/Manga Entertainment 1995, courtesy British Film Institute 228 6.6 A Colour Box, Len Lye/GPO Films 1935, courtesy British Film Institute 231 6.7-8 Shrek, PDI/Dreamworks SKG 2000, courtesy British Film Institute 234 7.1 Christopher Strong, RKO Pictures, courtesy Kobal Collection 244 7.2 The Seventh Veil, Sidney Box/Ortus Productions, courtesy Kobal Collection 245 7.3 Bend it Like Beckham. Photo provided courtesy of The Works. Photographer: Christine Parry 246 7.4 Thelma and Louise, Metro-Goldwyn-Mayer, courtesy Kobal Collection 247 7.5 Erin Brockovich, Columbia Tristar, courtesy Kobal Collection 248 7.6 North by Northwest, Metro-Goldwyn-Mayer, courtesy Kobal Collection 255 7.7 The Color Purple, Warner Brothers, courtesy Kobal Collection 257 7.8 The Gold Diggers, Sally Potter/BFI Production Board, courtesy Kobal Collection 259 7.9 Orlando, Adventure Pictures (Orlando) Ltd, courtesy Kobal Collection 260 7.10 The Piano, CIBY/2000/Jan Chapman Productions, courtesy British Film Institute 264 7.11 Die Hard, Twentieth Century Fox, courtesy Kobal Collection 265 7.12 Gladiator, Universal/DreamWorks Pictures, courtesy Kobal Collection 267 7.13 Three Men and a Baby, Touchstone Pictures, courtesy Kobal Collection 271 7.14 Dead Ringers, Twentieth Century Fox, courtesy Kobal Collection 272 7.15 Fight Club, Twentieth Century Fox/Regency/Taurus Film, courtesy Kobal Collection 274 8.1 Girls in Uniform, Deutsches Film Gemeinschaft, courtesy British Film Institute 281 8.2 Un Chant d amour, Jean Genet estate, courtesy British Film Institute 282 8.3 Before Stonewall, Before Stonewall Inc., courtesy British Film Institute 283 8.4 Parting Glances, Contemporary Films Limited, courtesy Kobal Collection 284 8.5 The Boys in the Band, Cinema Centre Films, courtesy Kobal Collection 286 8.6 Rebel without a Cause, Warner Bros, courtesy Kobal Collection 288 8.7 All That Heaven Allows, Universal Studios, courtesy Kobal Collection 289 8.8 The Wild Party, Paramount Pictures, courtesy Kobal Collection 291 8.9 Desert Hearts, Mainline Pictures, courtesy Kobal Collection 293 8.10 Looking for Langston, Sunil Gupta (photographer), courtesy Sankofa Film and Video 296 8.11 Go Fish, Samuel Goldwyn/lslet Pictures, courtesy Kobal Collection 299 8.12 The Hanging Garden, Channel 4/Alliance, courtesy Kobal Collection 303 8.13 The Hanging Garden, Channel 4/Alliance, courtesy Kobal Collection 304 8.14 Happy Together, Artificial Eye, courtesy Kobal Collection 305 8.15 Happy Together, Artificial Eye, courtesy Kobal Collection 306 8.16 Edward II, Palace Pictures, courtesy Kobal Collection 310 8.17 Khush, Andre Cooke (photographer), courtesy British Film Institute 312 9.1 Rescue at a Chinese Mission, courtesy SEFTA, Brighton 323 9.2 The Glorious Adventure, Stoll/Stuart Blackton, courtesy The British Library 328 9.3 Solomon and Gaenor, Sony Picture Classics, courtesy Ronald Grant Archive 329 9.4 Tom Jones, UA/Woodfall, courtesy Ronald Grant Archive 331 9.5 Things to Come, London Films, courtesy Ronald Grant Archive 332 9.6 The Red Shoes, GFD/The Archers, courtesy Ronald Grant Archive 333 9.7 Another Time, Another Place, Paramount/Kaydor, courtesy Ronald Grant Archive 336 9.8 Saturday Night and Sunday Morning, Bryanston/Woodfall, courtesy Ronald Grant Archive 338 9.9 Distant Voices, Still Lives, BFI/Film Four International, courtesy Ronald Grant Archive 340 9.10 The Man in the White Suit, Ealing, courtesy Ronald Grant Archive 341 9.11 The League of Gentleman, Rank/Allied Film Makers, courtesy Ronald Grant Archive 345 9.12 Wonderland, Polygram Films (UK Ltd), courtesy Ronald Grant Archive 352 9.13 Sexy Beast, Film Four, courtesy Ronald Grant Archive 356 10.1 Monsoon Wedding, Mirabai Films, courtesy British Film Institute 364 10.2 Sholay, G.P. Sippy/Sippy Films/United Producers, courtesy British Film Institute 368 10.3 Dil Chahta Hai, Excel Entertainment, courtesy Hyphen Films Ltd 373 10.4 Bandit Queen, Channel 4 Films/Kaleidoscope Productions, courtesy British Film Institute 379 10.5 Lagaan, Aamir Khan Productions, courtesy Hyphen Films 385 11.1 The Extraordinary Adventures of Mr West in the Land of the Bolsheviks, Contemporary Films, courtesy British Film Institute 399 11.2 Sergei Eisenstein, Contemporary Films, courtesy British Film Institute 400 11.3 Strike, Contemporary Films, courtesy British Film Institute 401 11.4 Strike montage, Contemporary Films, courtesy British Film Institute 402-3 11.5 Battleship Potemkin, Contemporary Films, courtesy British Film Institute 404 11.6 Battleship Potemkin, Contemporary Films, courtesy British Film Institute 405 11.7-9 Battleship Potemkin, Contemporary Films, courtesy British Film Institute 405 11.10 October, Contemporary Films, courtesy British Film Institute 406 11.11 October, Contemporary Films, courtesy British Film Institute 407 11.12 Old and New, or The General Line, Contemporary Films, courtesy British Film Institute 407 11.13 The End of St Petersburg, Contemporary Films, courtesy British Film Institute 410 11.14 The New Babylon, Contemporary Films, courtesy British Film Institute 412 11.15 Earth, Contemporary Films, courtesy British Film Institute 413 12.1 Young French directors at the 1959 Cannes Film Festival, courtesy British Film Institute 423 12.2 Alfred Hitchcock receives award from Jeanne Moreau, 1969, courtesy British Film Institute 425 12.3 Roberto Rossellini, courtesy British Film Institute 427 12.4 Jean-Paul Belmondo and Jean Seberg in A bout de souffle, Optimum Releasing, courtesy British Film Institute 429 12.5 Jean-Pierre Leaud in Les Quatre cents coups/The Four Hundred Blows, Visual Programme Systems, courtesy British Film Institute 432 12.6 Jean-Pierre Leaud as Doinel, courtesy British Film Institute 433 12.7 La Jetee (The Pier), Contemporary, courtesy British Film Institute 434 12.8 Agnes Varda directing Corinne Marchand for Cleo de 5 a 7 (Cleo from 5 to 7), Sebricon, courtesy British Film Institute 436 12.9 Jean Renoir with Francois Truffaut at a press conference, 1965, courtesy British Film Institute 438 12.10 Bridget Bardot and Jeanne Moreau, 1965, courtesy British Film Institute 439 12.11 Jean-Luc Godard and Anna Karina, courtesy British Film Institute 442 12.12 Anna Karina and Eddie Constance in Alphaville, 1965, courtesy British Film Institute 444
adam_txt	Titel: An introduction to film studies Autor: Nelmes, Jill Jahr: 2003 Contents List of illustrations xi Notes on contributors xvi Acknowledgements xviii ¦ Introduction to the third edition xix JILL NELMES How to use this book xxi Useful features xxi New features of the third edition xxi Part one: institutions and audiences xxii Part two: approaches to studying film texts xxii Part three: genre forms - realism and illusion xxiii Part four: representation of gender and sexuality xxiv Part five: national cinemas xxiv PART ONE: INSTITUTIONS AND AUDIENCES 1 ¦ 1 Cinema as institution 3 SEARLE KOCHBERG Introduction 4 The origins of the American film industry (1900-14) 4 The studio era of American film (1930-49) 7 Case study 1: Warner Brothers 11 The contemporary film industry (1949 onwards) 16 Case study 2: a US 'blockbuster' production - Gladiator (Ridley Scott, 2000) 26 Case study 3: a medium-budget UK production - The Crying Game (Neil Jordan, 1992) 29 Film audiences 33 Case study 4: Sunn Classic Pictures and psychological testing 38 Case study 5: the youth market and building an audience for Trainspotting (Danny Boyle, 1996) 38 Case study 6: building audiences on the web for The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999) 39 Censorship and classification 40 Case study 7: US - The Hays Code 42 Case study 8: contemporary USA - recent moral panics 43 Case study 9: UK censorship - the interwar years and the Second World War 44 Case study 10: contemporary UK - Crash (David Cronenberg, 1996) 45 Conclusion 46 Notes 46 Key texts 48 Further viewing 49 Resource centres 50 PART TWO: APPROACHES TO STUDYING FILM TEXTS 51 ¦ 2 Film form and narrative 53 ALLAN ROWE AND PAUL WELLS Introduction: understanding 'cinema' and 'storytelling' 54 Case study 1: Spider-Man (Sam Raimi, 2002) 55 The reading of film 59 Case study 2: the beginning of Keaton's The General (1925) 60 Cinematic codes 62 Narrative 78 Alternative narratives 84 Case study 3: an alternative text - Memento (Christopher Nolan, 2000) 87 Key texts 89 Further viewing 90 Resource centres 90 ¦ 3 Spectator, audience and response 91 PATRICK PHILLIPS Introduction 92 The film spectator 92 The film audience 94 Response studies 95 What we can learn from Early Cinema 97 Case study 1: the response to The Birth of a Nation (D. W. Griffith, 1915) 101 The passive spectator 105 The active spectator 108 Response: the negotiating spectator 110 Case study 2: pleasure and evaluation - Pulp Fiction (Quentin Tarantino, 1994) 116 Mixing approaches 124 Some notes on censorship and regulation 124 A model 126 Further reading 127 Further viewing 128 Resource centres 128 ¦ 4 Critical approaches to Hollywood cinema: authorship, genre and stars 129 PAUL WATSON Introduction 130 Authorship and Hollywood cinema 131 Introduction: the three paradoxes of cinematic authorship 131 The allure of authorship 134 The emergence of the auteur 134 The problems of auteur theory 137 The commerce of authorship 139 Towards a pragmatic conception of cinematic authorship 140 Conclusion 141 Case study 1: director-as-author - Jim Jarmusch 142 Case study 2: corporate authorship - Industrial Light and Magic (ILM) 148 Genre and Hollywood cinema 151 Introduction: what is genre and why study it? 151 Genre, Hollywood and film theory 152 Defining genre (s) 153 Rethinking genre as metaphor 162 Case study 3: The Matrix (Wachowski Brothers, 1999) 163 Stars and Hollywood cinema 169 Introduction: three approaches to stardom 169 When is a star not a star? 171 Case study 4: Jodie Foster 178 Key texts 181 Further viewing 182 Resource centres 183 PART THREE: GENRE FORMS - REALISM AND ILLUSION 185 ¦ 5 The documentary form: personal and social 'realities' 187 PAUL WELLS Introduction 188 What is documentary? 189 Some developments in non-fiction film 191 From travelogue to authored documentary 192 Case study 1: Robert Flaherty 192 From social commentary to propaganda to poetic actuality 194 Case study 2: Humphrey Jennings 195 Propaganda as documentary myth 196 Case study 3: Leni Riefenstahl 197 From documentary bias to Direct Cinema and cinema verite 199 Case study 4: Frederick Wiseman 202 From radical documentary to docusoap and dilemma 203 Case study 5: Gillian Wearing 207 Case study 6: Ken Burns 209 Notes 210 Key texts 210 Further viewing 211 Resource centres 211 ¦ 6 Animation: forms and meanings 213 PAUL WELLS Introduction 214 What is animation? 214 Early animation 215 The legacy of Disney 217 Case study 1: deconstructing the cartoon - Duck Amuck (Chuck Jones, 1953) 218 Case study 2: animation as a self-reflexive language - Girls' Night Out (Joanna Ouinn, 1986) 221 Perpetual 'modernity' 223 Case study 3: challenging animation orthodoxies - Neighbours (Norman McLaren, 1952) 225 Case study 4: recalling and revising animation tradition - The Ren Stimpy Show 226 Case study 5: adult animation - Ghost in the Shell (Mamoru Oshii, 1995) 228 Continuing to experiment 229 Case study 6: A Colour Box (Len Lye, 1935) 230 Case study 7: Deaosy (David Anderson, 1990) 231 Computers and convergence 232 Case study 8: mainstreaming the marginal - Shrek (Andrew Adamson and Vicky Jenson, 2001) 233 Conclusion 236 Notes 236 Further reading 237 Further viewing 237 Resource centres 237 PART FOUR: REPRESENTATION OF GENDER AND SEXUALITY 239 ¦ 7 Gender and film 241 JILL NELMES Introduction 242 Women and film 243 No job for a woman - a history of women in film 243 The feminist revolution 247 Feminist film theory and practice 249 Reassessing feminist film theory 253 Case study 1: Sally Potter, film-maker 258 Case study 2: The Piano (Jane Campion, 1993) 261 Gender theory and theories of masculinity 264 Masculinity as unproblematic 264 Playing with gender 266 The male body 267 Male anxiety: masculinity in crisis 269 The new man? 269 Fatherhood and the family 270 Womb envy 271 Hurt, agony, pain - love it: the masochistic spectator 272 Case study 3: Fight Club (David Fincher, 1999) 273 Conclusion 275 Notes 276 Key texts 276 Further viewing 277 Resource centres 277 ¦ 8 Lesbian and gay cinema 279 CHRIS JONES Introduction: representation 280 Definitions and developments: homosexual and gay 280 Audiences 282 Lesbian and gay film festivals 283 Gay sensibility 285 Camp aesthetics and cinema 286 Critical re-readings 287 Some films with gay/lesbian themes 291 Case study 1: Desert Hearts (Donna Deitsch, 1985) 292 Case study 2: Looking for Langston (Isaac Juuen, 1994) 295 Case study 3: Go Fish (Rose Troche, 1994) 298 Case study 4: The Hanging Garden (Thom Fitzgerald, 1997) 301 Case study 5: Happy Together (Wong Kar Wai, 1997) 304 Conclusion: a queer diversity 309 Key texts 314 Further viewing 315 Resource centres 317 PART FIVE: NATIONAL CINEMAS 319 ¦ 9 Marking out the territory: aspects of British cinema 321 AMY SARGEANT Introduction: defining a national cinema 322 Beginning and continuing 322 Crossing the pond 326 Continental drift 331 Town, country and coast 334 Community and nation 340 Intermedial raids and exchanges 346 Case study 1: West End Girls - wonderland (1999) and Bridget jones's diary (2001) 352 Case study 2: East End Boys - The British gangster film post 1990 354 Notes 356 Further reading 356 Further viewing 357 Resource centres 358 ¦ 1O Indian cinema 359 LALITHA GOPALAN Introduction 360 Production and reception conditions 361 Case study 1: Monsoon Wedding (Mira Nair, 2002) 364 Writing on Indian cinema 365 Genre and form 366 Case study 2: Sholay (Ramesh Sippy, 1975) 368 Song and dance sequences 370 Love story 372 Case study 3: Bombay (Mani Ratnam, 1995) 372 Case study 4: Dil Chahta Hai / What the Heart Desires (Farhan Akhtar, 2001) 373 Interval 374 Gangster films 376 Case study 5: Satya (Ram Gopal Varma. 1998) 377 Censorship 377 The woman's film 378 Case study 6: Bandit Queen (Shekhar Kapur, 1994) and Fire (Deepa Mehta, 1998) 379 Case study 7: Housefull (Parthiban, 1999) 381 Foundational fictions of the post-colonial nation 381 Case study 8: Hey! Ram (Kamal Haasan, 1999) 382 Case study 9: Lagaan / Tax (Ashutosh Gowrikar, 2001) 385 Conclusion 386 Notes 387 Further reading 388 Further viewing 388 Resource centres 388 ¦ 11 The Soviet montage cinema of the 1920s 389 MARK JOYCE Introduction: why study the Soviet cinema? 390 Historical background 390 Pre-revolutionary Russian cinema 391 Soviet cinema and ideology: film as agent of change 392 Economics of the Soviet film industry 393 Form: montage 394 Other features of Soviet montage cinema 397 The key Soviet montage film-makers of the 1920s 398 Case study 1: Lev Kuleshov, The Extraordinary Adventures of Mr West in the Land of the Bolsheviks (1924) 399 Case study 2: Serge/ Eisenstein, Strike (1924); Battleship Potemkin (1925); October (1927); Old and New (1929) 400 Case study 3: Vsevolod Pudovkin, The Mother (1926); The End of St Petersburg (1927) 409 Case study 4: Alexander Dovzhenko, Arsenal (1929); Earth (1930) 412 Case study 5: Esfir Shub, The Fall of the Romanov Dynasty (1927) 415 Audience response 415 Theoretical debates: montage versus realism 416 Postscript to the 1920s 416 Notes 418 Further reading 419 Further viewing 419 Resource centres 420 ¦ 12 The French New Wave 421 CHRIS DARKE Introduction 422 Postwar French film culture 423 Film criticism 424 Case study 1: A bout de souffle (Breathless, Jean-Luc Godard, 1960) 428 The production context of the New Wave 429 Case study 2: Les Quatre cents coups (The Four Hundred Blows, Francois Truffaut, 1959) 432 New directors, new producers 433 Case study 3: La Jetee (The Pier, Chris Marker, 1962) 434 Case study 4: Cleo de 5 a 7 (Cleo from 5 to 7, Agnes Varda, 1961) 435 Characteristics of New Wave cinema 436 Case study 5: Jean-Luc Godard 442 Case study 6: Agnes Varda 444 The legacy of the New Wave 445 Conclusion 448 Further reading 449 Further viewing 450 Resource centres 450 Glossary 451 Bibliography 469 Index 483 Illustrations Part 1 title page Le Voyage dans la Lune, Star Film Studio, courtesy Kobal collection 1 Part 2 title page Rush Hour, New Line Cinema, courtesy Kobal collection 51 Part 3 title page The Thin Blue Line, American Playhouse/Miramax Films, courtesy British Film Institute 185 Part 4 title page Happy Together, Artificial Eye, courtesy Kobal Collection 239 Part 5 title page A bout de souffle {Breathless, Godard, 1960), Optimum Releasing, courtesy British Film Institute 319 1.1 Nickelodeon in New York City, courtesy Kobal Collection 5 1.2 Paramount production facility, Paramount Pictures, courtesy Kobal Collection 10 1.3 Vitaphone sound system, courtesy Kobal Collection 12 1.4 Footlight Parade, Warner Bros, courtesy Kobal Collection 13 1.5 Jezebel, Warner Bros, courtesy Kobal Collection 14 1.6 Mildred Pierce, Warner Bros, courtesy Kobal Collection 15 1.7 Early 1950s ad for the (then) new widescreen Cinemascope system, Twentieth Century Fox, courtesy Kobal Collection 17 1.8 Gladiator, Universal/DreamWorks Pictures, courtesy Kobal Collection 26 1.9 Poster for The Crying Game, Polygram Filmed Entertainment/ Pictorial Press, courtesy Kobal Collection 29 1.10 Harry Potter and the Sorcerer's Stone, Warner Bros, courtesy Kobal Collection 32 1.11 Queue outside the Odeon Theatre, Leicester Square, courtesy Kobal Collection 34 1.12 No Down Payment, Twentieth Century Fox, courtesy Kobal Collection 35 1.13 Trainspotting, Figment/Noel Gay/Channel 4, courtesy Kobal Collection 38 1.14 The Blair Witch Project, Artisan Entertainment, courtesy Kobal Collection 39 1.15 Crash, Columbia TriStar, courtesy Kobal Collection 45 2.1 Spider-Man, Columbia Pictures, courtesy British Film Institute 56 2.2 The General, Buster Keaton Productions/United Artists, courtesy Kobal Collection 62 2.3 Shane, Paramount Pictures, courtesy Kobal Collection 64 2.4 Johnny Guitar, Republic, courtesy Kobal Collection 64 2.5 All that Heaven Allows, Universal-International, courtesy Kobal Collection 65 2.6 Strangers on a Train, Warner Bros, courtesy Kobal Collection 66 2.7-8 Mildred Pierce, Warner Bros, courtesy Kobal Collection 68 2.9 The Last Seduction, ITC Entertainment Group, courtesy Kobal Collection 71 2.10 Psycho, Paramount Pictures, courtesy Kobal Collection 76 2.11 Vertigo, Paramount Pictures, courtesy Kobal Collection 81 2.12 The Searchers, Warner Bros, courtesy Kobal Collection 82 2.13 The French Lieutenant's Woman, United Artists, courtesy Kobal Collection 84 2.14-15 Rashomon, Daiei Films, courtesy Kobal Collection 86 2.16 Memento, I Remember Productions, Lie/New Market Capital Group/Team Todd, courtesy British Film Institute 87 3.1 Land Girls, Intermedia/Camera One/Arena, Courtesy Kobal Collection 96 3.2 The Great Train Robbery, Edison Company, courtesy British Film Institute 98 3.3 The Birth of a Nation, Epoch, courtesy Kobal Collection 104 3.4 Apocalypse Now, Zoetrope Studios, courtesy British Film Institute 111 3.5 Natural Born Killers, Warner Bros/J.D. Productions/lxtlan Productions/ New Regency Pictures, courtesy British Film Institute 111 3.6 Fight Club, Twentieth Century Fox, courtesy Kobal Collection 113 3.7-9 Pulp Fiction, A Band Apart/Jersey Films/Miramax Films, courtesy British Film Institute 118-119 3.10 Arrivee d'un train en gare a la Ciotat, Lumiere Brothers, courtesy British Film Institute 123 4.1 Night on Earth, JVC/Victor/Pyramide/Cana! +/Pandora/Channel 4, courtesy Kobal Collection 145 4.2 Dead Man, 12 Gauge Productions/Pandora, courtesy Kobal Collection 146 4.3 Artificial Intelligence: Al, Amblin/Dreamworks/Stanley Kubrik/ Warner Bros, images courtesy ILM and the Kobal Collection 150 4.4 Moulin Rouge, Twentieth Century Fox, courtesy British Film Institute 162 4.5 The Matrix, Groucho II Film Partnership/Silver Pictures/Village Roadshow Productions, courtesy Kobal Collection 166 4.6 The Matrix, Groucho II Film Partnership/Silver Pictures/Village Roadshow Productions, courtesy Kobal Collection 168 4.7 Now magazine cover, photo by Paul Watson 173 4.8 Panic Room, Columbia Pictures, courtesy Kobal Collection 180 4.9 The Silence of the Lambs, Image Entertainment, courtesy Kobal Collection 180 5.1 Nanook of the North, United Artists, courtesy Kobal Collection 193 5.2 Moana: A Romance of the Golden Age, Paramount, courtesy British Film Institute 193 5.3-5 Triumph des Willens, Universum Film Aktiengellschaft (UFA), courtesy British Film Institute 198 5.6 Woodstock, Warner Bros, courtesy Kobal Collection 201 5.7 High School, Warner Bros, courtesy Kobal Collection 203 5.8 Rush to Judgement, Emile de Antonio, courtesy British Film Institute 204 5.9 The Thin Blue Line, American Playhouse/Miramax Films, courtesy British Film Institute 205 5.10 Neighbours from Hell, Carlton International Media Limited, courtesy British Film Institute 206 5.11 Signs That Say What You Want Them To Say and Not Signs That Someone Else Wants You to Say (1992-3), Gillian Wearing 207 6.1 Gertie the Dinosaur, Winsor McCay, courtesy Kobal Collection 216 6.2 Daffy Duck in Bugs Bunny, Walt Disney Productions, courtesy Kobal Collection 219 8.3 Girls' Night Out, Joanna Quinn (photographer), courtesy British Film Institute 222 6.4 Neighbours, National Film Board of Canada, courtesy British Film Institute 224 6.5 Ghost in the Shell, Shirow/Kodansha/Bandai Visual/Manga Entertainment 1995, courtesy British Film Institute 228 6.6 A Colour Box, Len Lye/GPO Films 1935, courtesy British Film Institute 231 6.7-8 Shrek, PDI/Dreamworks SKG 2000, courtesy British Film Institute 234 7.1 Christopher Strong, RKO Pictures, courtesy Kobal Collection 244 7.2 The Seventh Veil, Sidney Box/Ortus Productions, courtesy Kobal Collection 245 7.3 Bend it Like Beckham. Photo provided courtesy of The Works. Photographer: Christine Parry 246 7.4 Thelma and Louise, Metro-Goldwyn-Mayer, courtesy Kobal Collection 247 7.5 Erin Brockovich, Columbia Tristar, courtesy Kobal Collection 248 7.6 North by Northwest, Metro-Goldwyn-Mayer, courtesy Kobal Collection 255 7.7 The Color Purple, Warner Brothers, courtesy Kobal Collection 257 7.8 The Gold Diggers, Sally Potter/BFI Production Board, courtesy Kobal Collection 259 7.9 Orlando, Adventure Pictures (Orlando) Ltd, courtesy Kobal Collection 260 7.10 The Piano, CIBY/2000/Jan Chapman Productions, courtesy British Film Institute 264 7.11 Die Hard, Twentieth Century Fox, courtesy Kobal Collection 265 7.12 Gladiator, Universal/DreamWorks Pictures, courtesy Kobal Collection 267 7.13 Three Men and a Baby, Touchstone Pictures, courtesy Kobal Collection 271 7.14 Dead Ringers, Twentieth Century Fox, courtesy Kobal Collection 272 7.15 Fight Club, Twentieth Century Fox/Regency/Taurus Film, courtesy Kobal Collection 274 8.1 Girls in Uniform, Deutsches Film Gemeinschaft, courtesy British Film Institute 281 8.2 Un Chant d'amour, Jean Genet estate, courtesy British Film Institute 282 8.3 Before Stonewall, Before Stonewall Inc., courtesy British Film Institute 283 8.4 Parting Glances, Contemporary Films Limited, courtesy Kobal Collection 284 8.5 The Boys in the Band, Cinema Centre Films, courtesy Kobal Collection 286 8.6 Rebel without a Cause, Warner Bros, courtesy Kobal Collection 288 8.7 All That Heaven Allows, Universal Studios, courtesy Kobal Collection 289 8.8 The Wild Party, Paramount Pictures, courtesy Kobal Collection 291 8.9 Desert Hearts, Mainline Pictures, courtesy Kobal Collection 293 8.10 Looking for Langston, Sunil Gupta (photographer), courtesy Sankofa Film and Video 296 8.11 Go Fish, Samuel Goldwyn/lslet Pictures, courtesy Kobal Collection 299 8.12 The Hanging Garden, Channel 4/Alliance, courtesy Kobal Collection 303 8.13 The Hanging Garden, Channel 4/Alliance, courtesy Kobal Collection 304 8.14 Happy Together, Artificial Eye, courtesy Kobal Collection 305 8.15 Happy Together, Artificial Eye, courtesy Kobal Collection 306 8.16 Edward II, Palace Pictures, courtesy Kobal Collection 310 8.17 Khush, Andre Cooke (photographer), courtesy British Film Institute 312 9.1 Rescue at a Chinese Mission, courtesy SEFTA, Brighton 323 9.2 The Glorious Adventure, Stoll/Stuart Blackton, courtesy The British Library 328 9.3 Solomon and Gaenor, Sony Picture Classics, courtesy Ronald Grant Archive 329 9.4 Tom Jones, UA/Woodfall, courtesy Ronald Grant Archive 331 9.5 Things to Come, London Films, courtesy Ronald Grant Archive 332 9.6 The Red Shoes, GFD/The Archers, courtesy Ronald Grant Archive 333 9.7 Another Time, Another Place, Paramount/Kaydor, courtesy Ronald Grant Archive 336 9.8 Saturday Night and Sunday Morning, Bryanston/Woodfall, courtesy Ronald Grant Archive 338 9.9 Distant Voices, Still Lives, BFI/Film Four International, courtesy Ronald Grant Archive 340 9.10 The Man in the White Suit, Ealing, courtesy Ronald Grant Archive 341 9.11 The League of Gentleman, Rank/Allied Film Makers, courtesy Ronald Grant Archive 345 9.12 Wonderland, Polygram Films (UK Ltd), courtesy Ronald Grant Archive 352 9.13 Sexy Beast, Film Four, courtesy Ronald Grant Archive 356 10.1 Monsoon Wedding, Mirabai Films, courtesy British Film Institute 364 10.2 Sholay, G.P. Sippy/Sippy Films/United Producers, courtesy British Film Institute 368 10.3 Dil Chahta Hai, Excel Entertainment, courtesy Hyphen Films Ltd 373 10.4 Bandit Queen, Channel 4 Films/Kaleidoscope Productions, courtesy British Film Institute 379 10.5 Lagaan, Aamir Khan Productions, courtesy Hyphen Films 385 11.1 The Extraordinary Adventures of Mr West in the Land of the Bolsheviks, Contemporary Films, courtesy British Film Institute 399 11.2 Sergei Eisenstein, Contemporary Films, courtesy British Film Institute 400 11.3 Strike, Contemporary Films, courtesy British Film Institute 401 11.4 Strike montage, Contemporary Films, courtesy British Film Institute 402-3 11.5 Battleship Potemkin, Contemporary Films, courtesy British Film Institute 404 11.6 Battleship Potemkin, Contemporary Films, courtesy British Film Institute 405 11.7-9 Battleship Potemkin, Contemporary Films, courtesy British Film Institute 405 11.10 October, Contemporary Films, courtesy British Film Institute 406 11.11 October, Contemporary Films, courtesy British Film Institute 407 11.12 Old and New, or The General Line, Contemporary Films, courtesy British Film Institute 407 11.13 The End of St Petersburg, Contemporary Films, courtesy British Film Institute 410 11.14 The New Babylon, Contemporary Films, courtesy British Film Institute 412 11.15 Earth, Contemporary Films, courtesy British Film Institute 413 12.1 Young French directors at the 1959 Cannes Film Festival, courtesy British Film Institute 423 12.2 Alfred Hitchcock receives award from Jeanne Moreau, 1969, courtesy British Film Institute 425 12.3 Roberto Rossellini, courtesy British Film Institute 427 12.4 Jean-Paul Belmondo and Jean Seberg in A bout de souffle, Optimum Releasing, courtesy British Film Institute 429 12.5 Jean-Pierre Leaud in Les Quatre cents coups/The Four Hundred Blows, Visual Programme Systems, courtesy British Film Institute 432 12.6 Jean-Pierre Leaud as Doinel, courtesy British Film Institute 433 12.7 La Jetee (The Pier), Contemporary, courtesy British Film Institute 434 12.8 Agnes Varda directing Corinne Marchand for Cleo de 5 a 7 (Cleo from 5 to 7), Sebricon, courtesy British Film Institute 436 12.9 Jean Renoir with Francois Truffaut at a press conference, 1965, courtesy British Film Institute 438 12.10 Bridget Bardot and Jeanne Moreau, 1965, courtesy British Film Institute 439 12.11 Jean-Luc Godard and Anna Karina, courtesy British Film Institute 442 12.12 Anna Karina and Eddie Constance in Alphaville, 1965, courtesy British Film Institute 444
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spellingShingle	An introduction to film studies Film Motion pictures Filmwissenschaft (DE-588)4154385-3 gnd Film (DE-588)4017102-4 gnd
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title	An introduction to film studies
title_auth	An introduction to film studies
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title_full	An introduction to film studies ed. by Jill Nelmes
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topic	Film Motion pictures Filmwissenschaft (DE-588)4154385-3 gnd Film (DE-588)4017102-4 gnd
topic_facet	Film Motion pictures Filmwissenschaft Einführung Lehrbuch
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