Film art: an introduction
Saved in:
| Main Authors: | , |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York, NY
McGraw-Hill
2013
|
| Edition: | 10th ed., international ed. |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Previous ed.: 2010. - Includes bibliographical references, filmography and index |
| Physical Description: | XVIII, 526 S. zahlr. Ill. |
| ISBN: | 9780071318310 0071318313 |
Staff View
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| 245 | 1 | 0 | |a Film art |b an introduction |c David Bordwell ; Kristin Thompson |
| 250 | |a 10th ed., international ed. | ||
| 264 | 1 | |a New York, NY |b McGraw-Hill |c 2013 | |
| 300 | |a XVIII, 526 S. |b zahlr. Ill. | ||
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| 338 | |b nc |2 rdacarrier | ||
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Record in the Search Index
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|---|---|
| adam_text | : -■ »■■ ■ .. ■ ■ ■ ■■■ ■■■ ■■
BRIEF
CONTENTS
Preface
xiv
PART
1 *
Film Art and Filmmaking
1
Film as Art: Creativity, Technology, and Business
2
PART
2 *
Film Form
2
The Significance of Film Form
50
3
Narrative Form
72
PART
3 «
Film Style
4
The Shot: Mise-en-Scene
112
5
The Shot: Cinematography
160
6
The Relation of Shot to Shot: Editing
218
7
Sound in the Cinema
266
8
Summary: Style as a Formal System
308
PART
4 *
Types of Films
9
Film Genres
328
10
Documentary, Experimental, and Animated Films
350
PART
5 ·
Critical Analysis of Films
11
Film Criticism: Sample Analyses
402
Appendix: Writing a Critical Analysis of a Film
450
PART
6 *
Film History
12
Historical Changes in Film Art: Conventions and Choices, Tradition and Trends
458
Glossary
500
Credits
506
Recommended DVD and Blu-Ray Supplements
506
Index
507
VI
CONTENTS
Preface
xiv
PART
1 ·
Film Art and Filmmaking
CHAPTER
1
Film as Art: Creativity, Technology,
and Business
2
Art vs. Entertainment? Art vs. Business?
3
Creative Decisions in Filmmaking
4
CREATIVE DECfSiONS-To See into the Night in Collateral
5
Mechanics of the Movies
9
Illusion Machines
9
Making Films with Photographic Film
9
Films as Digital Media
13
Making the Movie: Film Production
16
The Scriptwriting and Funding Phase
17
The Preparation Phase
/8
The Shooting Phase
20
The Assembly Phase
24
A CLOSER LOOK—Some Terms and Roles in Film Production
24
Artistic Implications of the Production Process
28
Modes of Production
29
Large-Scale Production
29
Exploitation, Independent Production, and
DIY
30
Small-Scale Production
31
Artistic Implications of Different Modes of Production
32
Bringing the Film to the Audience: Distribution and Exhibition
34
Distribution: The Center of Power
34
Exhibition: Theatrical and Nontheatrical
39
Ancillary Markets: Taking Movies beyond the Theater
41
Artistic Implications of Distribution and Exhibition
43
SUMMARY
47
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
47
::■■ ;
PART
2 ·
Film Form
CHAPTER
2
The Significance of Film Form
50
The Concept of Form in Film
57
Form as Pattern
51
Form Versus Content
52
Formal Expectations
54
Conventions and Experience
56
Form and Feeling
56
Form and Meaning
57
Evaluation: Good, Bad, or Indifferent?
60
viii
CONTENTS
Principles of Film Form
62
Function
62
Similarity and Repetition
63
A CLOSER LOOK-Creative Decisions: Picking Out Patterns
Difference and Variation
66
Development
67
Unity and Disunity
69
SUMMARY
70
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
71
64
CHAPTER
3
Narrative Form
72
Principles of Narrative Form
72
What Is Narrative?
73
Telling the Story
74
CREATIVE
DECÎSIONS-How
Would You Tell the Story?
74
Plot and Story
75
Cause and Effect
77
Time
79
A CLOSER LOOK-Playing Games with Story Time
82
Space
84
Openings, Closings, and Patterns of Development
85
Narration: The Flow of Story Information
87
Range of Story Information: Restricted or Unrestricted?
87
Depth of Story Information: Objective or Subjective?
90
The Narrator
93
A CLOSER LOOK-Creative Decisions: When the Lights
Go Down, the Narration Starts
94
CREATiVE DECiSiONS-Choices about Narration in Storytelling
96
The Classical Hollywood Cinema
97
Narrative Form in Citizen Kane
99
Overall Narrative Expectations in Citizen Kane
99
Plot and Story in Citizen Kane
100
Citizen Kane s Causality
102
Time in Citizen Kane
103
Motivation in Citizen Kane
105
Citizen Kane s Parallelism
106
Patterns of Plot Development in Citizen Kane
107
Narration in Citizen Kane
108
SUMMARY no
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
110
PART
3 ·
Film Style
CHAPTER
4
The Shot: Mise-en-Scene
112
What Is Mise-en-Scene?
112
The Power of Mise-en-Scene
113
Components of Mise-en-Scene
115
Setting
115
Costume and Makeup
119
CONTENTS ix
Lighting
124
Staging: Movement and Performance
131
A CLOSER LOOK-The Film Actor s Toolkit
134
Putting It All Together: Mise-en-Scene in Space and Time
140
CREATIVE DEClSIONS-Mise-en-Scene in a Sequence from
L Avventura
141
Space
143
CREATIVE DECtSiONS-Mise-en-Scene in Two Shots from Day of Wrath
149
Time
150
Narrative Functions of Mise-en-Scene in Our Hospitality
154
SUMMARY
158
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
159
CHAPTER
5
The Shot: Cinematography
160
The Photographic Image
160
The Range of Tonalities
160
Speed of Motion
165
A CLOSER LOOK-From Monsters to the Mundane
166
Perspective
169
Framing
178
A CLOSER LOOK-Virtual Perspective:
3D 180
Frame Dimensions and Shape
182
CREATIVE
DECÎSIONS-Using Widescreen
Framing
184
Onscreen and Offscreen Space
186
Camera Position: Angle, Level, Height, and Distance of Framing
188
CREATIVE DECISIONS-Camera Position in a Shot from
The Social Network
192
The Mobile Frame
195
CREATIVE DECSSIONS-Mobile Framing and Film Form:
Grand Illusion and Wavelength
204
Duration of the Image: The Long Take
270
Real Time Is
...
What?
211
Functions of the Long Take
211
The Long Take and the Mobile Frame
272
SUMMARY
276
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
216
CHAPTER
6
The Relation of Shot to Shot:
Editing
218
What Is Editing?
279
CREATIVE DECISIONS-Why Cut? Four Shots from The Birds
220
Dimensions of Film Editing
227
Graphic Relations between Shot A and Shot
В
227
Rhythmic Relations between Shot A and Shot
В
226
Spatial Relations between Shot A and Shot
В
227
Temporal Relations between Shot A and Shot
В
228
Continuity Editing
252
Spatial Continuity: The
180°
System
233
Continuity Editing in The Maltese Falcon
235
Continuity Editing: Some Fine Points
239
χ
CONTENTS
CREATIVE DECISIONS-Are
You Looking at Me? Point-of-View Cutting in Rear Window
243
Crosscutting
246
Temporal Continuity: Order, Frequency, and Duration
247
A CLOSER LOOK-lntensified Continuity: Unstoppable,
L
A. Confidential, and Contemporary Editing
248
Alternatives to Continuity Editing
255
Graphic and Rhythmic Possibilities
255
Spatial and Temporal Discontinuity
257
CREATIVE DECISIONS-Discontinuity Editing in October
261
SUMMARY
264
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
265
CHAPTER
7
Sound in Cinema
266
Sound Decisions
266
The Powers of Sound
267
Sound Shapes Our Understanding of Images
268
Sound Directs Our Attention
268
Fundamentals of Film Sound
270
Perceptual Properties
270
Choosing, Altering, and Combining Sounds
273
CREATIVE DEClSiONS-Editing Dialogue: To Overlap or
Not to Overlap?
275
Dimensions of Film Sound
281
Rhythm
281
Fidelity
283
Space
284
A CLOSER LOOK-Offscreen Sound and Optical Point of View:
The Money Exchange in Jackie Brown
286
Time
294
Functions of Film Sound: The Prestige
298
Transported Men
298
The Sounds of Magic
299
Echoes, Visual and Auditory
301
Two Journals
302
Hinting at Secrets
303
The Opening
304
SUMMARY
306
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
307
CHAPTER
8
Summary: Style and Film Form
308
The Concept of Style
308
CREATIVE DECISIONS-Style and the Filmmaker
309
Decision Making: Techniques Working Together
310
Watching and Listening: Style and the Viewer
310
Analyzing Style
311
1.
What Is the Film s Overall Form?
312
2.
What Are the Primary Techniques Being Used?
312
3.
What Patterns Are Formed by the Techniques?
312
4.
What Functions Do the Techniques and Patterns Fulfill?
314
A CLOSER LOOK-Stylistic Synthesis in Shadow of a Doubt
315
CONTENTS xi
Style in Citizen
Капе
316
Mystery and the Penetration of Space
317
Style and Narration: Restriction and Objectivity
319
Style and Narration: Omniscence
321
Narrative Parallels: Settings
321
Parallels: Other Techniques
322
A Convincing Newsreel
324
Plot Time through Editing
324
SUMMARY
326
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
326
PART
4 ·
Types of Films
CHAPTER
9
Film Genres
328
Understanding Genre
329
Defining a Genre
330
Analyzing a Genre
331
Genre History
333
A CLOSER LOOK—Creative Decisions in a Contemporary Genre:
The Crime Thriller as
Subgenre
334
The Social Functions of Genres
338
Three Genres
339
The Western
339
The Horror Film
341
The Musical
344
SUMMARY
348
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
348
CHAPTER
10
Documentary, Experimental,
and Animated Films
350
Documentary
350
What Is a Documentary?
350
The Boundaries between Documentary and Fiction
352
Genres of Documentary
353
Form in Documentary Films
354
Categorical Form: Introduction
355
CREATIVE DECISIONS-Engaging Viewers Using
Categorical Form
356
An Example of Categorical Form: Gap-Toothed Women
357
Rhetorical Form: Introduction
362
An Example of Rhetorical Form: The River
364
Experimental Film
369
A Range of Technical Choices
370
Types of Form in Experimental Film
371
Abstract Form: Introduction
371
CREATIVE DECISIONS-Designing Form in an Abstract Film
371
An Example of Abstract Form: Ballet
Mécanique
373
Associational Form: Introduction
378
An Example of Associational Form: Koyaanisqatsi
379
xii CONTENTS
The Animated Film
386
Types of Traditional Animation
387
Types of Computer Animation
389
An Example of Traditional Animation: Duck Amuck
392
An Example of Experimental Animation: Dimensions of Dialogue
395
SUMMARY
398
RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS
399
PART
5 ·
Critical Analysis of Films
CHAPTER
11
Film Criticism: Sample Analyses
402
The Classical Narrative Cinema
403
His Girl Friday
403
North by Northwest
406
Do The Right Thing
410
Narrative Alternatives to Classical Filmmaking
415
Breathless
(λ
bout de
souffle)
415
Tokyo Story (Tokyo Monogatari)
420
Chungking Express (Chung
Hing
sam lam)
425
Documentary Form and Style
429
Man with a Movie Camera (Chelovek
s
kinoapparatom)
429
The Thin Blue Line
433
Form, Style, and Ideology
439
Meet Me in St. Louis
439
Raging Bull
445
Appendix: Writing a Critical Analysis of a Film
450
Preparing to Write
450
Step
1:
Develop a Thesis That Your Essay Will Explain and Support
450
Step
2:
Draw Up a Segmentation of the Entire Film
450
Step
3:
Note Outstanding Instances of Film Technique
451
Organizing and Writing
451
Introducing Your Thesis
452
The Body: Reasons, Evidence, Examples
452
Wrapping Things Up
453
Summary: Key Questions for an Analytical Essay
453
A Sample Analytical Essay
453
Fantasy and Reality in The King of Comedy
454
Sample-Analysis Films on DVD
456
PART
6 ·
Film Art and Film History
CHAPTER
12
Historical Changes in Film Art:
Conventions and Choices, Tradition and Trends
458
CREATIVE DECiSIONS-Film Form and Style across History
459
Traditions and Movements in Film History
461
Early Cinema
(1893-1903) 462
Photography and Cinema
463
Edison vs.
Lumière
463
CONTENTS XIII
Early Form and Style
464
Méliès,
Magic, and Fictional Narrative
465
The Development of the Classical Hollywood Cinema
(1908-1927) 466
Hollywood and the Studio System of Production
466
Classical Form and Style in Place
468
German Expressionism
(1919-1926) 469
French Impressionism and Surrealism
(1918-1930) 472
Impressionism
473
Surrealism
474
Soviet Montage
(1924-1930) 476
Artists and the State
476
NEP
Cinema
477
The Priority of Editing
478
The Movement Ends
478
The Classical Hollywood Cinema after the Coming of Sound, 1930S-1940S
480
Converting to Sound
480
Problems and Solutions
480
Studios, Genres, and Spectacle
481
Deep Focus and Narrative Innovations
482
Italian
Neorealism
(1942-1951) 483
Leaving the Studio
484
A New Model of Storytelling
484
The Movement s End and Its Legacy
485
The French New Wave
(1959-1964) 485
Movie Critics Become Moviemakers
486
A New Wave Style
486
Neorealism
Recast
487
Into the Mainstream and Beyond
487
The New Hollywood and Independent Filmmaking, 1970S-1980S
488
Blockbusters and Indie Pictures
489
The Rise of the Movie Brats
489
Other Paths
490
The
1980s
and After
491
Hollywood and Independents, To Be Continued
493
Hong Kong Cinema, 1980S-1990S
494
A Local Tradition Goes Global
494
The New Generation: Two Schools
494
Story and Style
495
Legacy Overseas
496
RECOMMENDED DVD AND BLU-RAY DISCS
498
Glossary
500
Credits
506
Recommended DVD and Blu-ray Discs
506
Index
507
|
| any_adam_object | 1 |
| author | Bordwell, David 1947-2024 Thompson, Kristin 1950- |
| author_GND | (DE-588)119411091 (DE-588)131823833 |
| author_facet | Bordwell, David 1947-2024 Thompson, Kristin 1950- |
| author_role | aut aut |
| author_sort | Bordwell, David 1947-2024 |
| author_variant | d b db k t kt |
| building | Verbundindex |
| bvnumber | BV040487234 |
| classification_rvk | AP 45400 |
| ctrlnum | (OCoLC)825542046 (DE-599)BSZ370612914 |
| dewey-full | 791.43 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43 |
| dewey-search | 791.43 |
| dewey-sort | 3791.43 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| edition | 10th ed., international ed. |
| format | Book |
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| genre | (DE-588)4151278-9 Einführung gnd-content |
| genre_facet | Einführung |
| id | DE-604.BV040487234 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:24:48Z |
| institution | BVB |
| isbn | 9780071318310 0071318313 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025334332 |
| oclc_num | 825542046 |
| open_access_boolean | |
| owner | DE-11 DE-M472 DE-Aug4 DE-739 DE-473 DE-BY-UBG |
| owner_facet | DE-11 DE-M472 DE-Aug4 DE-739 DE-473 DE-BY-UBG |
| physical | XVIII, 526 S. zahlr. Ill. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | McGraw-Hill |
| record_format | marc |
| spelling | Bordwell, David 1947-2024 Verfasser (DE-588)119411091 aut Film art an introduction David Bordwell ; Kristin Thompson 10th ed., international ed. New York, NY McGraw-Hill 2013 XVIII, 526 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Previous ed.: 2010. - Includes bibliographical references, filmography and index Film (DE-588)4017102-4 gnd rswk-swf Filmästhetik (DE-588)4140881-0 gnd rswk-swf Filmtheorie (DE-588)4071216-3 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Filmästhetik (DE-588)4140881-0 s DE-604 Film (DE-588)4017102-4 s 1\p DE-604 Filmtheorie (DE-588)4071216-3 s 2\p DE-604 Thompson, Kristin 1950- Verfasser (DE-588)131823833 aut Digitalisierung UB Bamberg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025334332&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 | Bordwell, David 1947-2024 Thompson, Kristin 1950- Film art an introduction Film (DE-588)4017102-4 gnd Filmästhetik (DE-588)4140881-0 gnd Filmtheorie (DE-588)4071216-3 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4140881-0 (DE-588)4071216-3 (DE-588)4151278-9 |
| title | Film art an introduction |
| title_auth | Film art an introduction |
| title_exact_search | Film art an introduction |
| title_full | Film art an introduction David Bordwell ; Kristin Thompson |
| title_fullStr | Film art an introduction David Bordwell ; Kristin Thompson |
| title_full_unstemmed | Film art an introduction David Bordwell ; Kristin Thompson |
| title_short | Film art |
| title_sort | film art an introduction |
| title_sub | an introduction |
| topic | Film (DE-588)4017102-4 gnd Filmästhetik (DE-588)4140881-0 gnd Filmtheorie (DE-588)4071216-3 gnd |
| topic_facet | Film Filmästhetik Filmtheorie Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025334332&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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