Introduction to film:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Palgrave ; Macmillan Education
2016
|
| Ausgabe: | 2nd edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xxii, 384 Seiten Illustrationen |
| ISBN: | 9781137463845 9781137463838 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | List of Figures xii
List of Film Stills xiii
List of Tables xvii
Acknowledgements xvlii
Preface xix
Note on the text xxii
CHAPTER 1 Film Language 1
1.1 Introduction 1
1.2 Introduction to mise en scène 2
1.3 Production design: sets, props and costumes 4
1.4 Lighting 8
1.5 Performance 10
1.6 Sound and music 15
1.7 Framing: position; depth of field; aspect ratio;
height and angle 20
1.8 Camera movement 27
1.9 Editing 28
1.10 Intensified continuity 35
1.11 Conclusion 38
CHAPTER 2 Film Narrative and Genre 39
2.1 Introduction 39
2.2 Introduction to narrative 40
2.3 Early cinema and narrative 42
2.4 Todorov and Propp 44
2.5 Story and plot 49
2.6 Roland Barthes’s narrative codes 51
2.7 Art-cinema narrative 54
2.8 Narrative and psychoanalysis 56
2.9 Postmodern narratives 59
2.10 Digital storytelling: CGI and the possibilities of digital cinema 61
2.11 Introduction to genre 63
2.12 Defining genre 65
2.13 The repertoire of elements 66
2.14 Twelve uses of genre 69
2.15 Genre and hybridity 85
2.16 Conclusion 89
CHAPTER 3 Film as Business 90
3.1 Introduction 90
3.2 The beginning of cinema: the Lumière brothers and Méliès;
sideshow to blockbuster 91
3.3 Hollywood: the formation of the major studios and stars 94
3.4 Regulation 104
3.5 The coming of sound and after 111
3.6 Post-Second World War decline: cinema loses its audience 114
3.7 The rise of independent cinema and art cinema 115
3.8 The high concept and package Hollywood 122
3.9 Hollywood: the rise of synergy 127
3.10 The independent sector in North America 130
3.11 British film since the 1980s 135
3.12 Franchise Hollywood 137
3.13 Global Hollywood? 141
3.14 Conclusion 142
CHAPTER 4 Exhibition and Distribution 144
4.1 Introduction 144
4.2 The exhibition sector 145
4.3 The cinema experience 150
4.4 Saturation and platform distribution 152
4.5 Platforms for the exhibition of films 156
4.6 Marketing movies 159
4.7 Film festivals
4.8 Conclusion
163
165
CHAPTER 5 Film Theory 166
5.1 Introduction 166
5.2 Film and realism 167
5.3 Documentary 169
5.4 The auteur theory 175
5.5 Structuralism and auteurism 176
5.6 Screen theory: ideology 179
5.7 Screen theory: psychoanalysis 186
5.8 Screen theory: feminist analysis 188
5.9 Third cinema and post-colonialism 191
5.10 Queer theory 202
5.11 Postmodernism 204
5.12 Poststructuralism 207
5.13 The audience in film theory 211
5.14 Fandom 217
5.15 Cognitivist film theory 220
5.16 Conclusion 222
CHAPTER 6 Transnational Cinema 224
6.1 Introduction 224
6.2 Cultural imperialism 225
6.3 National cinema 228
6.4 Film and cultural exchange 231
6.5 Transnational modes of production, distribution
and exhibition 233
6.6 Transnational modes of narration 235
6.7 Cinema of globalization and films with multiple locations 237
6.8 Exilic and diasporic filmmaking 239
6.9 Transregional/transcommunity films 241
6.10 Transnational directors and stars 241
6.11 Transnational collaborative networks 242
6.12 Transnational ethics, critical approaches,
influences and viewing practices 242
6.13 Protectionism and cultural support 244
6.14 Conclusion 247
CHAPTER 7 Film Movements and Waves 249
7.1 Introduction 250
7.2 German Expressionism 250
7.3 Avant-garde 254
7.4 Soviet cinema in the 1920s 258
7.5 The British documentary movement 262
7.6 Italian neo-realism 264
7.7 Post-war renaissance: Japan 266
7.8 Soviet cinema in Krushchev s ‘Thaw’ 271
7.9 Cinéma vérité and direct cinema 273
7.10 The French New Wave ( Vague) 277
7.11 The British New Wave (1959-63) and the
‘Swinging Sixties’ 280
7.12 Eastern Europe: Czechoslovakia, Hungary
and Poland 284
7.13 Cinema Novo and Latin American cinema 291
7.14 New German cinema 296
7.15 Hong Kong New Wave 301
7.16 Chinese cinema: fifth and sixth generation 303
7.17 Denmark’s Dogme 95 305
7.18 Iranian cinema 307
7.19 South Korean Hallyu 309
7.20 Eastern Europe in the twenty-first century 312
7.21 African cinema 315
7.22 Conclusion 318
CHAPTER 8 Representation and Film 320
8.1 Introduction 320
8.2 Issues of representation 321
8.3 Representations of gender 323
8.4 Representation of Black and Minority Ethnic
(BME) groups 331
8.5 Conclusion 339
CHAPTER 9 Film and Technology 340
9.1 Introduction 340
9.2 Precursors 341
9.3 Lenses 342
9.4 Projecting frames 343
9.5 Aspect ratio 344
9.6 Digital film 346
9.7 Sound and colour 347
9.8 Animation 349
9.9 Special effects 350
9.10 3D 352
9.11 Conclusion 354
Conclusion 355
Bibliography 358
Film Index 378
Subject Index 381
never Deen so wide-ranging or so
nternet-based video on demand has transformed the way films are
distributed and exhibited, with many previously unobtainable and obscure
films becoming available for global audiences to view instantly.
The second edition of this concise yet complete introduction to film
responds to these shifts in the medium, while continuing to address all
of the main approaches that inform film studies.
This new edition also:
• reflects the increasing importance of production contexts in chapters
that focus exclusively on the film business, distribution and exhibition;
• represents the significance of transnational cinema, moving away from
Western-centric perspectives of film and drawing on a more global,
non-Hollywood range of film examples and case studies from Europe,
Asia and Latin America;
• is now illustrated with a wider variety of film stills, representing world
cinema from the classics to the latest in contemporary cinema.
Interweaving historical and current theoretical approaches, Nick
Lacey presents a tightly-focused and coherent overview of a discipline
in transition. With its original narrative line and student-oriented
philosophy, the second edition continues to enrich students’ appreciation
of cinema, while equipping them with the essential skills and vocabulary
to succeed in film studies. This is an ideal foundational text for all
students and enthusiasts of cinema.
|
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| spelling | Lacey, Nick Verfasser (DE-588)1102420905 aut Introduction to film Nick Lacey 2nd edition London ; New York Palgrave ; Macmillan Education 2016 xxii, 384 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Film (DE-588)4017102-4 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Film (DE-588)4017102-4 s DE-604 Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028954485&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Augsburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028954485&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title_auth | Introduction to film |
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| topic | Film (DE-588)4017102-4 gnd |
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