The film experience: an introduction
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Boston ; New York
Bedford/St. Martin's
[2015]
|
| Ausgabe: | Fourth Edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xxii 518 Seiten Illustrationen |
| ISBN: | 9780230359093 9780312681708 |
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Datensatz im Suchindex
| _version_ | 1804175796480245760 |
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| adam_text | Brief Contents
Preface v
PART 1 CULTURAL CONTEXTS: watching, studying, and making movies 2
introduction Studying Film: Culture and Experience 5
chapter 1 Encountering Film: From Preproduction
to Exhibition 19
PART 2
CHAPTER
CHAPTER
CHAPTER
CHAPTER
FORMAL COMPOSITIONS: film scenes, shots, cuts, and sounds
2 Mise-en-Scène: Exploring a Material World 63
3 Cinematography: Framing What We See 95
4 Editing: Relating Images 133
5 Film Sound: Listening to the Cinema 175
60
PART 3 ORGANIZATIONAL STRUCTURES: from stories to genres
CHAPTER 6
CHAPTER 7
CHAPTER 8
CHAPTER 9
Narrative Films: Telling Stories 213
Documentary Films: Representing the Real 253
Experimental Film and New Media: Challenging
Form 283
Movie Genres: Conventions, Formulas, and
Audience Expectations 311
210
PART 4 CRITICAL PERSPECTIVES: history, methods, writing 350
chapter 10 History and Historiography: Hollywood and
Beyond 353
chapter 11 Reading about Film: Critical Theories and
Methods 397
chapter 12 Writing a Film Essay: Observations, Arguments,
Research, and Analysis 429
Glossary 462
The Next Level: Additional Sources 477
Index 483
Contents
Preface v
PARTI
CULTURAL CONTEXTS:
watching, studying, and making movies 2
introduction Studying Film: Culture and Experience 5
Why Film Studies Matters 7
Film Spectators and Film Cultures 9
El FORM IN ACTION: Identification, Cognition, and Film Variety 13
® FILM IN FOCUS: The 400 Blows: An Auteur s Film Experience
(1959) 14
The Film Experience 16
chapter 1 Encountering Film: From Preproduction
to Exhibition 19
Production: How Films Are Made 21
Preproduction 21
Production 26
Postproduction 28
Distribution: What We Can See 29
Distributors 30
Ancillary Markets 34
Distribution Timing 37
El FILM IN FOCUS: Distributing Killer of Sheep {1977) 40
Marketing and Promotion: What We Want to See 42
Generating Interest 43
Advertising 45
S3 FORM IN ACTION: The Changing Art and Business of the
Film Trailer 47
El VIEWING CUE: Man of Steel (2013) 48
Word of Mouth and Fan Engagement 49
Movie Exhibition: The Where, When, and How of
Movie Experiences 51
The Changing Contexts and Practices of Film Exhibition 51
El FILM IN FOCUS: Promoting The Blair Witch Project (1999) 52
Technologies and Cultures of Exhibition 54
The Timing of Exhibition 55
® FILM IN FOCUS: Exhibiting Citizen Kane (1941) 56
xv
xvi
Contents
PART 2
FORMAL COMPOSITIONS:
film scenes, shots, cuts, and sounds 60
chapter 2 Mise-en-Scene: Exploring a Material
World 63
A Short History of Mise-en-Scéne 66
Theatrical Mise-en-Sdme and the Prehistory of Cinema 66
l()()0- 1912: Marly C inema s theatrical Influences 67
19 1 6- 1928: Silent Cinema and the Star System 67
19 M)s- I9()0s: Studio-lira Production 68
1940֊ 19/0: New Cinematic Realism 68
1979 Present: Misc-cn Scene and the Blockbuster 68
The Elements of Mlse-en-Scene 69
Settings and Sets 09
(§1 VIEWING CUE: Life of Pi (2012) 70
Scenic Realism and Atmosphere 70
Props, Actors, Costumes, and l ights 71
El FILM IN FOCUS: Mise-en-Scéne in Do the Right Thing (1989) 80
Space and Design 84
[§J FORM IN ACTION: Mise-en-Scéne in Fantastic Mr. Fox (2009) 85
Making Sense of Mise-en-Scéne 86
Defining Our Place in a film s Material World 86
Interpretive Contexts for Mise-en-Scene 87
ES3 FILM IN FOCUS; Naturalistic Mise-en-Scéne in 8icycle Thieves
(1948) 90
Spectacularizing the Movies 92
chapter 3 Cinematography: Framing What We See 95
A Short History of the Cinematic Image 97
1820s-1880s: The Invention of Photography and the
Prehistory of Cinema 98
1890s-1920s: The Emergence and Refinement of
Cinematography 98
1930s-1940s: Developments in Color, Wide-Angle, and
Small-Gauge Cinematography 100
1950s-1960s: Widescreen, 3-D, and New Color
Processes 102
1970s-1980s: Cinematography and Exhibition in the Age of
the Blockbuster 102
1990s and Beyond: The Digital Future 103
The Elements of Cinematography 104
Points of View 104
Four Attributes of the Shot 106
® VIEWING CUE: Touch of Evil( 1958) 106
Contents
xvii
® FORM IN ACTION: Color and Contrast in Film 116
0 VIEWING CUE:Rear Window (1954) 118
0 VIEWING CUE: The Battle of Algiers (1967) 119
Animation and Visual Effects 119
Making Sense of the Film Image 122
Defining Our Relationship to the Cinematic Image 122
Interpretive Contexts for the Cinematic Image 123
0 FILM IN FOCUS: From Angles to Animation in Vertigo (1958) 124
@ FILM IN FOCUS: Meaning through Images in M (1931) 128
chapter 4 Editing: Relating Images 133
A Short History of Film Editing 134
1895-1918: Early Cinema and the Emergence of Editing
1919-1929: Soviet Montage 137
1930-1959: Continuity Editing in the Hollywood Studio
Era 138
I960-1989: Modern Editing Styles 139
1990s-Present: Editing in the Digital Age 140
The Elements of Editing 140
The Cut and Other Transitions 141
0 VIEWING CUE: Chinatown (1974) 143
Continuity Style 144
Editing and Temporality 155
(§1 VIEWING CUE: The General ( 1927) 159
^3] FORM IN ACTION: Editing and Rhythm in Moulin Rouge! (2001 )
135
160
Making Sense of Film Editing 161
® FILM IN FOCUS: Patterns of Editing in Bonnie and Clyde (1967) 162
Disjunctive Editing 165
Converging Editing Styles 169
@ FILM IN FOCUS: Montage in Battleship Potemkin (1925) 170
chapters Film Sound: Listening to the Cinema 175
A Short History of Film Sound 176
Theatrical and Technological Prehistories of Film Sound 177
1895- 1920s: The Sounds of Silent Cinema 177
1927-1930: Transition to Synchronized Sound 179
1930s-1940s: Challenges and Innovations in Cinema Sound 180
1950s-Present: From Stereophonic to Digital Sound 180
The Elements of Film Sound 181
Sound and Image 181
Sound Production 184
0 FILM IN FOCUS: Sound and Image in Singin in the Rain (1952) 186
Voice in Film 189
Music in Film 193
[§] FORM IN ACTION: Pop Music Soundtracks
in Contemporary Cinema 195
Sound Effects in Film 199
xviii
Contents
gj VIEWING CUE: Winter s Bone (2010) 199
© VIEWING CUE: The Thin Red Line (1998) 200
Making Sense of Film Sound 201
Authenticity and experience A)I
Sound Continuity and Sound Montage 202
© FILM IN FOCUS: The Role of Sound and Sound
Technology in The Con venation (1974) 206
PART 3
ORGANIZATIONAL STRUCTURES:
from stories to genres 210
chapter 6 Narrative Films: Telling Stories 213
A Short History of Narrative Film 214
1900 l();.()s: Adaptations. Scriptwriters,
and Screenplays 216
1927™ 1950: Sound Technology, Dialogue, and C lassical
Ilollywood Narrativi* 2 1 /
1950-1980: Art Cinema 1 19
I980s-Prcsent: Itomi Narrativi* KcllrxivTty to liâmes 19
The Elements of Narrative Film 220
Stories and Plots 220
Characters 111
Diegetic and Nondiegctic Elements ID
Narrative Patterns of Time 130
FORM IN ACTION: Nondiegetic Images and Narrative 231
El VIEWING CUE: Shutter Island {2010) 234
Narrative Space 236
Narrative Perspectives 238
Ш VIEWING CUE: The Royal Tenenbaums (2001 ) 238
® FILM IN FOCUS: Plot and Narration in Apocalypse
Now (1979) 240
Making Sense of Film Narrative 243
Shaping Memory, Making History 244
Narrative Traditions 245
©I FILM IN FOCUS: Classical and Alternative Traditions in Mildred
Pierce ( 1945) and Daughters of the Dust ( 1991) 248
chapter 7 Documentary Films: Representing
the Real 253
A Short History of Documentary Cinema 256
A Prehistory of Documentaries 256
1895-1905: Early Actualities, Scenics, and Topicals 257
The 1920s: Robert Flaherty and the Soviet
Documentaries 257
1930-1945: The Politics and Propaganda of
Documentary 258
Contents
xix
CHAPTER 8
CHAPTER 9
1950s-1970s: New Technologies and the Arrival of
Television 258
1980s-Present: Digital Cinema, Cable, and Reality TV 260
The Elements of Documentary Films 261
Nonfiction and Non-Narrative 261
Expositions: Organizations That Show or Describe 263
0 FILM IN FOCUS: Nonfiction and Non-Narrative in Man of Aran
(1934) 264
El VIEWING CUE: The Cove (2009) 265
Rhetorical Positions 266
Making Sense of Documentary Films 269
Revealing New or Ignored Realities 270
Confronting Assumptions, Altering Opinions 270
Serving as a Social, Cultural, and Personal Lens 271
El FILM IN FOCUS: Stories We Tell (2012) 272
0 FORM IN ACTION: The Contemporary Documentary; Exit Through
the Gift Shop (2010) 280
Experimental Film and New Media:
Challenging Form 283
A Short History of Experimental Film and Media
Practices 286
1910s-1920s: European Avant-Garde Movements 287
1930s-1940s: Sound and Vision 288
1950s-1960s: The Postwar Avant-Garde in America 289
® FILM IN FOCUS: Avant-Garde Visions in Meshes of the
Afternoon (1943) 290
1968-1980: Politics and Experimental Cinema 293
1980s-Present: New Technologies and New Media 294
Variations of Experimental Media 295
Formalisms: Narrative Experimentation and Abstraction 295
Experimental Organizations: Associative, Structural,
and Participatory 296
El FILM IN FOCUS: Formal Play in Ballet mecanique (1924) 298
Making Sense of Experimental Media 301
Challenging and Expanding Perception 302
Experimental Film Styles and Approaches 302
E| VIEWING CUE: Gently Down the Stream (1964) 303
EJ FORM IN ACTION: Lyrical Style in Bridges-Go-Round (1958) 306
Movie Genres: Conventions, Formulas,
and Audience Expectations 311
A Short History of Film Genre 313
Historical Origins of Genres 313
Early Film Genres 314
1920s-1940s: Genre and the Studio System 314
XX
Contents
IlJ4Ö֊ 1970s: Postwar Nif» retires Mb
]t)/()s_Present: New Hollywood, Sequels, and Global Genres 316
The Elements of Film Genre 317
Conventions i 1V
Formulas and Myths 11H
Audience I xpeetations J14
Six Movie Genres 320
Comedies À 1
Westerns WA
Melodramas Wb
Musicals WA
Horror l iinis J W.
Crime Films J14
@ VIEWING CUE: The Searchers (1956) 337
Making Sense of Film Genres 338
Prescriptive and Descriptive Approaches 1 Ж
Classical and Revisionist Traditions 1 P)
® FILM IN FOCUS: Crime Film Conventions and Formulas:
Chinatown ( 1974) 340
© FORM IN ACTION: Genre Revisionism: Comparing True Grit (1969)
and True Grit (2010) 343
Local and Global Genres И4
БД FILM IN FOCUS: Genre History in Vagabond (1985) 346
PART 4
CRITICAL PERSPECTIVES:
history, methods, writing 350
chapter 10 History and Historiography: Hollywood
and Beyond 353
Early Cinema 355
Cinema between the Wars 356
Classical Hollywood Cinema 356
German Expressionist Cinema 358
Soviet Silent Films 359
French Impressionist Cinema and Poetic Realism 360
Postwar Cinemas 361
Postwar Hollywood 361
Italian Neorealism 363
0 VIEWING CUE: Gilda (1946) and Rome, Open City (1945) 364
French New Wave 364
Japanese Cinema 365
Third Cinema 366
Contemporary Film Cultures 366
Contemporary Hollywood 367
Contemporary Independent Cinema 368
Contemporary European Cinema 369
Contents
xxi
Ш FILM IN FOCUS: Taxi Driver and New Hollywood (1976) 370
Indian Cinema 373
African Cinema 374
Chinese Cinema 375
Iranian Cinema 377
The Lost and Found of Film History 378
Women Filmmakers 379
African American Cinema 382
Lesbian/Gay/Bisexual/Transgender (LGBT) Film History 385
Ш FILM IN FOCUS: Lost and Found History: Within Our Gates
(1920) 386
Indigenous Media 390
Excavating Film History 392
chapter 11 Reading about Film: Critical Theories
and Methods 397
The Evolution of Film Theory 399
Early and Classical Film Theory 400
Early Film Theory 400
Classical Film Theories: Formalism and Realism 402
Postwar Film Culture and Criticism 405
Film Journals 405
Auteur Theory 406
Genre Theory 407
Contemporary Film Theory 408
Structuralism and Semiotics 408
© VIEWING CUE: The Wizard of Oz (1939) 409
Poststructuralism 411
©FILM IN FOCUS: Signs and Meaning in Persepolis (2007) 412
Theories of Gender and Sexuality 415
Cultural Studies 418
Film and Philosophy 422
Postmodernism and New Media 423
© FILM IN FOCUS: Clueless about Contemporary Film
Theory? (1995) 424
chapter 12 Writing a Film Essay: Observations,
Arguments, Research, and Analysis 429
Writing an Analytical Film Essay 431
Personal Opinion and Objectivity 431
0 VIEWING CUE: Moonrise Kingdom (2012) 432
Identifying Your Readers 432
Elements of the Analytical Film Essay 433
Preparing to Write about a Film 434
Asking Questions 435
Taking Notes 435
xxii
Contents
Selecting a Topic 4 M
[§] FILM IN FOCUS: Analysis, Audience, and Minority
Report (2002) 438
Elements of a Film Essay 441
Thesis Statement 44.^
Outline and Topic Sentences 44 J
Revising, Formatting, and Proofreading 444
Writer’s Checklist 44*3
Researching the Movies 445
Distinguishing Research Materials 440
El FILM IN FOCUS: Interpretation, Argument, and Evidence
in Rashomon (1950) 448
Using and Documenting Sources 4* i
[§] FILM IN FOCUS: From Research to Writing about
The Cabinet of Dr. Caligari (1920) 456
Glossary 462
The Next Level: Additional Sources 477
Index 483
|
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| spelling | Corrigan, Timothy 1951- Verfasser (DE-588)1019408367 aut The film experience an introduction Timothy Corrigan, University of Pennsylvania ; Patricia White, Swarthmore College Fourth Edition Boston ; New York Bedford/St. Martin's [2015] © 2015 xxii 518 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Film (DE-588)4017102-4 gnd rswk-swf 1\p (DE-588)4151278-9 Einführung gnd-content Film (DE-588)4017102-4 s 2\p DE-604 White, Patricia 1964- Verfasser (DE-588)1031920838 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=028694400&sequence=000001&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 |
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| title | The film experience an introduction |
| title_auth | The film experience an introduction |
| title_exact_search | The film experience an introduction |
| title_full | The film experience an introduction Timothy Corrigan, University of Pennsylvania ; Patricia White, Swarthmore College |
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