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 2010
Edition:	Internat. ed., 3. ed.
Subjects:	Geschichte Film Hochschulschrift
Online Access:	Inhaltsverzeichnis
Physical Description:	XIX, 780 S. zahlr. Ill.
ISBN:	9780071267946

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Record in the Search Index

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adam_text	CONTENTS About the Autbors xiii Preface to the Third Exition xiv Part One EARLY CINEMA I 1 THE INVENTION AND EARLY YEARS OF THE CINEMA, 1880S-1904 3 The Invention of the Cinema 4 Preconditions for Motion Pictures 4 I Major Precursors of Motion Pictures 5 I An International Process of Invention 6 Early Filmmaking and Exhibition 11 Scenics, Topicals, and Fiction Films 11 I Creating an Appealing Program 11 The Growth of the French Film Industry 12 England and the Brighton School 14 I The United States: Competition and the Resurgence of Edison 1 7 Reference 21 2 THE INTERNATIONAL EXPANSION OF THE CINEMA, 1905-1912 22 Film Production in Europe 22 France: Pathé versus Gaumont 22 I Italy: Growth through Spectacle 24 I Denmark: Nordisk and Ole Olsen 25 I Other Countries 26 The Struggle for the Expanding American Film Industry 26 The Nickelodeon Boom 26 I The Motion Picture Patents Company versus the Independents 28 I Social Pressures and Self-Censorship 29 I The Rise of the Feature Film 30 I The Star System 30 I The Movies Move to Hollywood 31 The Problem of Narrative Clarity 31 Early Moves toward Classical Storytelling 32 An International Style 39 References 42 3 NATIONAL CINEMAS, HOLLYWOOD CLASSICISM, AND WORLD WAR I, 1913-1919 43 The American Takeover of World Markets 44 The Rise of National Cinemas 45 Germany 45 I Italy 46 I Russia 47 ШШеШШШЕШШЕЕЕШШШШЕШЕЕШШеШШйШЕШШШШ France 50 I Denmark 51 I Sweden 52 The Classical Hollywood Cinema The Major Studios Begin to Form 55 I Controlling Filmmaking 56 I Filmmaking in Hollywood during the 1910s 57 I Films and Filmmakers 59 55 Streamlining American Animation 64 Trends in Smaller Producing Countries References 67 Part Two THE LATE SILENT ERA. 1919-Í929 68 65 4 FRANCE IN THE 1920s 71 The French Film Industry after World War I 71 Competition from Imports 71 I Disunity within the Film Industry 72 I Outdated Production Facilities 72 Major Postwar Genres and Filmmakers 73 The French Impressionist Movement 74 The Impressionists Relation to the Industry 74 impressionist Theory 76 I Formal Traits of Impressionism 77 The End of French Impressionism The Filmmakers Go Their Own Ways 84 I Problems within the Film Industry 85 References 86 5 GERMANY IN THE 1920s 87 The German Situation after World War I 84 87 Genres and Styles of German Postwar Cinema 88 Spectacles 89 I The German Expressionist Movement 89 Kammerspiel 95 I German Films Abroad 96 Major Changes in the Mid- to Late 1920s 97 The Technological Updating of the German Studios 97 I The End of Inflation 98 The End of the Expressionist Movement 99 New Objectivity 100 Export and Classical Style References 104 102 б SOVIET CINEMA IN THE 1920s 105 The Hardships of War Communism, 1918-1920 105 Recovery under the New Economic Policy, 1921-1924 109 Increased State Control and the Montage Movement, 1925-1930 110 Growth and Export in the Film Industry 110 I The Influence of Constructivism 111 I A New Generation: The Montage Filmmakers 113 The Theoretical Writings of Montage Filmmakers 115 I Soviet Montage Form and Style 116 Other Soviet Films The First Five-Year Plan and the End of the Montage Movement 124 125 References 127 7 THE LATE SILENT ERA IN HOLLYWOOD, 1920-1928 128 Theater Chains and the Expansion of the Industry 129 Vertical Integration 129 I Picture Palaces 130 I The Big Three and the Tittle Five 130 The Motion Picture Producers and Distributors of America 131 Studio Filmmaking 132 Style and Technological Chatiges 132 I Big-Budget Films of the 1920s 134 I Hew Investment and Blockbusters 137 I Genres and Directors 138 Foreign Filmmakers in Hollywood 143 Films for African American Audiences 148 The Animated Part of the Program 149 Reference 151 8 INTERNATIONAL TRENDS OF THE 1920s 152 Film Europe 152 Postwar Animosities Fade 152 I Concrete Steps toward Cooperation 153 I Success Cut Short 154 The International Style 155 The Blending of Stylistic Traits 155 I Carl Drey er: European Director 156 Film Experiments outside the Mainstream Industry 158 Abstract Animation 158 ШшШЕШШЕЕШЕЅШ Dada Filmmaking 161 I Surrealism í 63 I Cinéma Pur 164 I Lyrical Documentaries: The City Symphony 1 65 / Experimental Narrative í 67 Documentary Features Gain Prominence 169 Commercial Filmmaking Internationally 170 Japan í 70 I Great Britain 1 71 / Italy 1 72 I Some Smaller Producing Countries 1 73 References 174 Part Three THE DEVELOPMENT OF SOUND CINEMA, 1926-Í945 175 9 THE INTRODUCTION OF SOUND 177 Sound in the United States 178 Warner Bros, and Vitaphone 178 I Sound-on-Film Is Adopted 178 I Sound and Filmmaking 179 ЫЩЩЩ>Ши TECHNOLOGY АЩ» Шй- Germany Challenges Hollywood 184 Dividing the International Pie 184 I The Early Sound Era in Germany 185 The U.S.S.R. Pursues Its Own Path to Sound The International Adoption of Sound France 190 I Great Britain 191 /Japan 192 I Wiring the World s Theaters for Sound 193 I Crossing the Language Barrier 193 References 194 188 190 10 THE HOLLYWOOD STUDIO SYSTEM, 1930-1945 195 The New Structure of the Film Industry The Big Five 196 196 The Little Three 198 I The Independents 200 Exhibition Practice in the 1930s 200 Continued Innovation in Hollywood 201 Sound Recording 201 I Camera Movement 202 I Technicolor 202 I Special Effects 203 I Cinematography Styles 205 Major Directors 206 The Older Generation 206 I New Directors 208 New Émigré Directors 210 Genre Innovations and Transformations 210 The Musical 210 I The Screwball Comedy 211 I The Horror Film 213 I The Social Problem Film 213 I The Gangster Film 214 I Film Noir 215 I The War Film 216 Animation and the Studio System 217 References 218 11 OTHER STUDIO SYSTEMS 219 Quota Quickies and Wartime Pressures: The British Studios 219 The British Film Industry Grows 219 I Export Successes 221 / Alfred Hitchcock s Thrillers 222 I Crisis and Recovery 222 I The Effects of the War 224 Innovation within an Industry: The Studio System of Japan 226 Popular Cinema of the 1930s 226 I The Pacific War 228 India: An Industry Built on Music 235 A Highly Fragmented Business 235 I Mythologicals, Socials, and Devotionals 236 I Independents Weaken the System 236 China: Filmmaking Caught between Left and Right References 238 237 12 CINEMA AND THE STATE: THE U.S.S.R., GERMANY, AND ITALY, 1930-1945 239 The Soviet Union: Socialist Realism and World War II 239 Films of the Early 1930s 240 I The Doctrine of Socialist Realism 240 The Main Genres of Socialist Realism 242 I The Soviet Cinema in Wartime 245 The German Cinema under the Nazis The Nazi Regime and the Film Industry 248 I Films of the Nazi Era 249 I The Aftermath of the Nazi Cinema 253 248 Italy: Propaganda versus Entertainment 253 Industry Tendencies 253 I A Cinema of Distraction 254 I A New Realism? 255 References 258 13 FRANCE: POETIC REALISM, THE POPULAR FRONT, AND THE OCCUPATION, 1930-1945 259 The Industry and Filmmaking during the 1930s 260 Production Problems and Artistic Freedom 260 I Fantasy and Surrealism: René Clair, Pierre Prévert, and Jean Vigo 260 I Quality Studio Filmmaking 262 I Emigrés in France 263 I Everyday Realism 264 Poetic Realism 265 Doomed Lovers and Atmospheric Settings 265 I The Creative Burst of Jean Renoir 266 I Other Contributors 268 Brief Interlude: The Popular Front 268 Filmmaking in Occupied and Vichy France 272 The Situation in the Film Industry 272 I Films of the Occupation Period 274 Reference 276 14 LEFTIST, DOCUMENTARY, AND EXPERIMENTAL CINEMAS, 1930-1945 277 The Spread of Political Cinema 277 The United States 278 I Germany 279 I Belgium and the Netherlands 279 I Great Britain 280 I International Leftist Filmmaking in the Late 1930s 281 Government- and Corporate-Sponsored Documentaries 282 The United States 282 I Great Britain 284 Wartime Documentaries 286 Hollywood Directors and the War 287 I Great Britain 288 I Germany and the U.S.S.R 289 The International Experimental Cinema 290 Experimental Narratives and Lyrical and Abstract Films 291 I Surrealism 291 I Animation 293 References 295 Part Four THE POSTWAR ERA: 1945-1960 296 15 AMERICAN CINEMA IN THE POSTWAR ERA, 1945-1960 298 Postwar Changes, 1946-1948 299 The HUAC Hearings: The Cold War Reaches Hollywood 299 I The Paramount Decision 300 The Decline of the Hollywood Studio System 300 Changing Lifestyles and Competing Entertainment 301 I Hollywood Adjusts to Television 302 Art Cinemas and Drive-ins 306 I Challenges to Censorship 307 The New Power of the Individual Film and the Revival of the Roadshow 308 The Rise of the Independents 309 Mainstream Independents: Agents, Star Power, and the Package 309 I Exploitation 310 I Independents on the Fringe 311 Classical Hollywood Filmmaking: A Continuing Tradition 312 Complexity and Realism in Storytelling 312 I Stylistic Changes 314 I New Twists on Old Genres 314 Major Directors: Several Generations 317 Veterans of the Studio Era 317 I Emigres Stay On 318 I Welles s Struggle with Hollywood 319 I The Impact of the Theater 319 BOX: ALFRED ШТОНЄОСК 326 New Directors 322 References 323 1 6 POSTWAR EUROPEAN CINEMA: NEOREALISM AND ITS CONTEXT, 1945-1959 324 The Postwar Context Film Industries and Film Culture West Germany: Papas Kino 325 I Resistance to U.S. Encroachment 326 I Art Cinema: The Return of Modernism 328 324 325 Italy: Neorealism and After Italian Spring 330 330 Defining Neorealism 333 Beyond Neorealism 337 A Spanish Neorealism? 340 References 341 17 POSTWAR EUROPEAN CINEMA: FRANCE, SCANDINAVIA, AND BRITAIN, 1945-1959 342 French Cinema of the Postwar Decade 342 The Industry Recovers 342 The Tradition of Quality 344 I The Return of Older Directors 346 I New Independent Directors 350 Scandinavian Revival 351 England: Quality and Comedy 354 Problems in the Industry 354 I Literary Heritage and Eccentricity 355 I Art-House Success Abroad 357 References 357 18 POSTWAR CINEMA BEYOND THE WEST, 1945-1959 358 General Tendencies 358 360 Japan Industry Recovery under the Occupation 360 I The Veteran Directors 361 I The War Generation 363 Postwar Cinema in the Soviet Sphere of Influence 363 The U.S.S.R.: From High Stalinism to the Thaw 364 I Postwar Cinema in Eastern Europe 366 People s Republic of China 370 Civil War and Revolution 370 I Mixing Maoism and Tradition 373 India 373 A Disorganized but Prolific Industry 374 I The Populist Tradition and Raj Kapoor 374 ШШШШШШШШШЕЕШШШШеШІШШЕЕШШЕеШКШШ Swimming against the Stream: Guru Dutt and Ritwik Ghatak 376 Latin America Argentina and Brazil 378 I Mexican Popular Cinema 379 377 References 380 19 ART CINEMA AND THE IDEA OF AUTHORSHIP 381 The Rise and Spread of the Auteur Theory Authorship and the Growth of the Art Cinema Luis Buñuel (1900-1983) Ingmar Bergman (1918-2007) Akira Kurosawa (1910-1998) Federico Fellini (1920-1993) Michelangelo Antonioni (1912-2007) Robert Bresson (1907-1999) Jacques Tati (1908-1982) Satyajit Ray (1921-1992) References 402 381 382 383 385 388 390 392 394 397 399 20 NEW WAVES AND YOUNG CINEMAS, 1958-1967 403 The Industries New Needs 403 Formal and Stylistic Trends 404 France: New Wave and New Cinema The New Wave 407 407 New Cinema: The Left Bank 412 Italy: Young Cinema and Spaghetti Westerns 414 Great Britain: Kitchen Sink Cinema 418 Young German Film 420 New Cinema in the U.S.S.R. and Eastern Europe 422 Young Cinema in the Soviet Union 422 I New Waves in Eastern Europe 424 The Japanese New Wave 432 Brazil: Cinema Nôvo 434 References 438 21 DOCUMENTARY AND EXPERIMENTAL CINEMA IN THE POSTWAR ERA, 1945-MID-1960S 439 Toward the Personal Documentary 440 Innovative Trends 440 I The National Film Board and Free Cinema 442 I France: The Auteurs Documentaries 443 I Jean Rouch and Ethnographic Documentary 444 Direct Cinema The United States: Drew and Associates 445 445 Direct Cinema in Bilingual Canada 448 I France: Cinéma Vérité and Provocation 449 Experimental and Avant-Garde Cinema 451 Abstraction, Collage, and Personal Expression 455 Success and New Ambitions 462 I Underground and Expanded Cinema 463 References 469 Part Five THE CONTEMPORARY CINEMA SINCE THE i960* 470 22 HOLLYWOOD S FALL AND RISE: 1960-1980 472 The 1960s: The Film Industry in Recession 473 The Studios in Crisis 473 I Styles and Genres 474 I Modifying the Classical Studio Style 475 I Identifying the Audience 476 The New Hollywood: Late 1960s to Late 1970s 478 Toward an American Art Cinema 478 I Hollywood Strikes Gold 480 The Return of the Blockbuster 483 Hollywood Updated 487 I Scorsese as Synthesis 489 Opportunities for Independents 490 References 493 23 POLITICALLY CRITICAL CINEMA OF THE 1960s AND 1970s 494 Political Filmmaking in the Third World 495 Revolutionary Aspirations 496 I Political Genres and Style 497 I Latin America 497 Black African Cinema 507 I China: Cinema and the Great Proletarian Cultural Revolution 510 Political Filmmaking in the First and Second Worlds Eastern Europe and the U.S.S.R. 512 I Political Cinema in the West 515 511 References 534 24 DOCUMENTARY AND EXPERIMENTAL FILM SINCE THE LATE 1960s 536 Documentary Cinema Direct Cinema and Its Legacy 53 7 537 ШЕИШЕШШЕвШШШВЕЕШШЕЅШ Synthesizing Documentary Techniques 540 I The Questioning of Documentary Actuality 542 I Documenting Upheavals and Injustice 544 I The Theatrical Documentary in the Age of Television 544 From Structuralism to Pluralism in Avant-Garde Cinema Structural Film 549 I Reactions and Alternatives to Structural Film 554 548 New Mergers 562 I Multimedia and Mixed Contexts 563 References 565 25 NEW CINEMAS AND NEW DEVELOP¬ MENTS: EUROPE AND THE U.S.S.R. SINCE THE 1970s 566 Western Europe Crisis in the Industry 567 567 The Art Cinema Revived: Toward Accessibility 571 The Arresting Image 581 Eastern Europe and the U.S.S.R. 588 Eastern Europe: Erom Reform to Revolution 588 I The U.S.S.R.: The Final Thaw 592 References 598 26 A DEVELOPING WORLD: CONTINENTAL AND SUBCONTINENTAL CINEMAS SINCE 1970 599 New Cinemas, New Audiences 600 27 CINEMA RISING: PACIFIC ASIA AND OCEANIA SINCE 1970 627 Australia and New Zealand 628 Australia 628 I New Zealand 630 Japan Independent Filmmaking: An Irreverent Generation 632 I The 1990s and 2000s: The Punctured Bubble and a New Surge of Talent 633 African Cinema 601 North Africa 601 I Sub -Sah aran Africa 602 I The 1990s and Beyond 604 Filmmaking in the Middle East 605 Israel 606 I Egypt 607 I Turkey 607 I Iran: Revolution, Renaissance, and Retreat 608 / Countries in Conflict 611 I Belatedly Embracing the Cinema 612 South America and Mexico: Interrupted Reforms and Partnerships with Hollywood 613 Brazil 613 Mainland China: Two Generations and the Commercial Market 637 Economic Reforms and the Fifth Generation 637 ^^^Kffi Argentina and Elsewhere 616 I Mexico 617 1 Cuba and Other 1. eft-Wing Cinemas 620 India: Mass Output and Art Cinema 621 Alternatives to Bollywood 621 I Coproductions and Satellite TV 623 I Indian Cinema on the Global Stage 625 References 626 The Sixth Generation and Illegal Films 640 I The Cinema and Market Socialism 641 New Cinemas in East Asia 643 The Philippines 645 1 Hong Kong 647 / Taiwan 652 ¡■■■■■■■■iliii South Korea 655 References 658 Part Six CINEMA IN THE AGE OF NEW MEDIA 659 28 AMERICAN CINEMA AND THE ENTERTAINMENT ECONOMY: THE 1980S AND AFTER 661 Hollywood, Cable Television, and Home Video 662 Concentration and Consolidation in the Film Industry 663 Artistic Trends Genres 671 I Narrative Form and Style 673 671 Directors: Midrange Options and Megapicture Obligations 676 A New Age of Independent Cinema 680 The Megapicture Mentality 666 I The Bottom Line 667 1 Multiplexing and Megaplexing: The New Face of Exhibition 670 Support Systems 684 I Four Trends 686 References 693 29 TOWARD A GLOBAL FILM CULTURE 694 Hollyworld? 695 The Media Conglomerates 696 I Cooperation and Cooptation 696 Battles over GATT 698 I Multiplexing the Planet 699 Regional Alliances and the New International Film 699 Europe and Asia Try to Compete 700 I Media Empires 700 I Global Films from Europe 701 East Asia: Regional Alliances and Global Efforts 702 Diasporic Cinema The Festival Circuit Festivals and the Global Film Business 707 704 706 Video Piracy: An Alternative Distribution System 709 Fan Subcultures: Appropriating the Movies 710 References 712 30 DIGITAL TECHNOLOGY AND THE CINEMA 713 Digital Tools for Filmmaking 714 Shooting on Digital Media 714 I Shooting on Film 716 I Effects on Film Form and Style 719 Distribution and Exhibition 722 Distribution 722 I Exhibition 723 New Media, Film, and Digital Convergence 725 Innovations in Promotion and Retail 725 References 730 Glossary 731 Index 736
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spelling	Thompson, Kristin 1950- Verfasser (DE-588)131823833 aut Film history an introduction Kristin Thompson ; David Bordwell Internat. ed., 3. ed. Boston, Mass. [u.a.] McGraw-Hill 2010 XIX, 780 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf 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 z DE-604 Geschichte (DE-588)4020517-4 s 2\p DE-604 Bordwell, David 1947-2024 Verfasser (DE-588)119411091 aut Digitalisierung UB Augsburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=021121095&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 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	Film (DE-588)4017102-4 gnd Geschichte (DE-588)4020517-4 gnd
topic_facet	Film Geschichte Hochschulschrift
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=021121095&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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