A history of narrative film:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York ; London
W.W. Norton & Company
[2016]
|
| Ausgabe: | Fifth edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xvii, 845 Seiten Illustrationen |
| ISBN: | 9780393920093 |
Internformat
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| 245 | 1 | 0 | |a A history of narrative film |c David A. Cook, the University of North Carolina at Greensboro |
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Datensatz im Suchindex
| _version_ | 1804176933386190848 |
|---|---|
| adam_text | Contents
Preface xiii
Preface to the Fifth Edition xv
ORIGINS 3
Optical Principles 3
Series Photography 5
Motion Pictures 7
Projection: Europe and America 9
The Evolution of Narrative: Georges Melies 13
Edwin S. Porter: Developing a Concept of
Continuity Editing 17
INTERNATIONAL EXPANSION,
1907-1918 25
The United States 25
• The Early Industrial Production Process 25
• The Motion Picture Patents Company 26
• The Advent of the Feature Film 28
• The Rise of the Star System 29
• The Move to Hollywood 30
• The New Studio Chiefs and Industry
Realignment 30
• The Block Booking Dispute and
the Acquisition of Theaters 32
• The Rise of Hollywood to International
Dominance 33
Expansion on the Continent 34
• The Empire of Pathé Frères 34
• Louis Feuillade and the Rise of Gaumont 35
• The Société Film d Art 39
• The Italian Superspectacle 40
D. W. GRIFFITH AND
THE DEVELOPMENT OF
NARRATIVE FORM 45
Formative Influences 46
The Beginning at Biograph 46
Innovation, 1908-1909: Interframe Narrative 47
Innovation, 1909-1911: Intraframe Narrative 49
Griffith s Drive for Increased Film Length 51
Judith ofBethulia and the Move to Mutual 51
The Birth of a Nation 53
• Production 53
• Structure 56
• Impact 59
Intolerance 60
• Production 60
• Structure 61
• Influence and Defects 63
Griffith after Intolerance 64
Decline 67
The Importance of Griffith 69
GERMAN CINEMA OF
THE WEIMAR PERIOD,
1919-1929 71
The Prewar Period 71
The Founding of UFA 72
Das Kabinett des Dr. Caligari 74
Fritz Lang 76
F. W. Murnau and the Kammerspielfilm 78
The Parufamet Agreement and
the Migration to Hollywood 81
G. W. Pabst and Street Realism 82
Down and Out 87
SOVIET SILENT CINEMA AND
THE THEORY OF MONTAGE,
1917-1931 89
Prerevolutionary Cinema 89
The Origins of Soviet Cinema 90
Dziga Vertov and the Kino-Eye 92
Lev Kuleshov and the Kuleshov Workshop 94
Sergei Eisenstein 99
• The Formative Years 99
• From Theater to Film 102
• The Production of Battleship Potemkin 103
• The Structure of Potemkin 103
Eisenstein s Theory of Dialectical Montage^
October (Ten Days That Shook the Worlds 1
A Laboratory for Intellectual Montage 109
» *
• Eisenstern after October 111
Vsevolod Pudovkin *112
Alexander Dovzhenko 114
Socialist Realism and the Decline of
Soviet Cinema 115
.. ■ ----------------------------
HOLLYWOOD IN
THE TWENTIES 119
.‘Ik!,.
jlHidrnas I nee, IS/lack Sen nett, and the
Studio System of Production 1 20
Charlie Chaplin 123
Keaton 127
Harold Lloyd and Others 1 31
Sltollywood Scandals and the Creation
of the MPPDA 134
Cecil B. DeMille 136
The Continental Touch : Lubitsch
and Others 1 38
In the American Grain 1 39
Erich von Stroheim 1 42
THE COIVIIIMG OF SOUND AND
COLOR, 1926-1935 151
Sound-on-Disc 151
Sound-on-Film 1 53
Vitaphone 1 54
Fox Movietone 1 57
The Process of Conversion 1 58
The Introduction of Color 161
Problems of Early Sound
Recording 1 69
The Theoretical Debate over Sound 172
The Adjustment to Sound 174
rÊ ¿f %
Ш՜ :Ц§ -ІІ5;. -P
THE SOUND FILM AND THE
AMERICAN STUDIO SYSTEM 179
New Genres and Old 179
Studio Politics and the
Production Code 182
The Structure of the Studio System 185
• MGM 185
• Paramount 187
• Warner Bros. 187
• 20th Century-Fox 187
• RKO 189
• The Minors 190
• Poverty Row 192
• Ethnic Cinema 193
Major Figures of the Studio Era 197
• Josef von Sternberg 197
• John Ford 199
• Howard Hawks 203
• Alfred Hitchcock 205
• George Cukor, William Wyler, and
Frank Capra 217
The Heritage of the Studio System 221
EUROPE IN THE THIRTIES 223
The International Diffusion of Sound 223
Britain 224
Germany 225
Italy 228
The Soviet Union 229
France 233
• Avant-Garde Impressionism, 1921-1929 233
• The Second Avant-Garde 236
• Sound,1929-1934 240
• Poetic Realism, 1934-1940 242
• Jean Renoir 245
ORSON WELLES AND THE
MODERN SOUND FILM 251
Citizen Kane 252
• Production 252
• Structure 258
• Influence 267
Welles after Citizen Kane 267
II____________________________________________
WARTIME AND POSTWAR CINEMA:
ITALY AND THE UNITED STATES,
1940-1951 275
The Effects of War 275
Italy 276
• The Italian Cinema before Neorealism 276
• The Foundations of Neorealism 278
• Neorealism: Major Figures and Films 280
• The Decline of Neorealism 283
• The Impact of Neorealism 285
The United States 285
• Hollywood at War 285
• The Postwar Boom 288
Postwar Genres in the United States 290
• Social Consciousness Films and
Semi-Documentary Melodramas 290
• Film Noir 293
• The Witch Hunt and the Blacklist 296
• The Arrival of Television 300
il
Ж
/ ,
HOLLYWOOD, 1952-1965 303
The Conversion to Color 303
Widescreen and 3-D 305
• Multiple-Camera/Projector Widescreen:
Cinerama 305
• Depth: Stereoscopic 3-D 308
• The Anamorphic Widescreen Processes 310
• The Non-Anamorphic, or Wide-Film,
Widescreen Processes 312
• Adjusting to Widescreen 315
• The Widescreen Blockbuster 317
• American Directors in the Early
Widescreen Age 317
1950s Genres 321
• The Musical 323
• Comedy 323
• The Western 324
• The Gangster Film and the
Anticommunist Film 326
• Science Fiction 328
• The Small Film : American
Kammerspielfilm 331
Independent Production and the Decline
of the Studio System 333
The Scrapping of the Production Code 335
THE FRENCH NEW WAVE, OR
NOUVELLE VAGUE, AND
ITS NATIVE CONTEXT 339
The Occupation and Postwar Cinema 339
• Robert Bresson and Jacques Tati 343
• Max Ophüls 345
• Influence of the Fifties Documentary Movement
and Independent Production 347
Theory: Astruc, Bazin, Auteurism, and
Cahiers du cinéma 350
The New Wave (Nouvelle Vague):
First Films 351
The New Wave: Origins of Style 354
Major New Wave Figures 356
• François Truffaut 357
• Jean-Luc Godard 360
• Alain Resnais 364
• Claude Chabrol 365
• Louis Malle 367
• Eric Rohmer and Jacques Rivette 369
• Agnès Varda, Jacques Demy, and Others 370
After the Wave 372
French Cinema in the 1980s and the 1990s 376
The Significance of the New Wave 382
14________________________________________
NEW CINEMAS IN BRITAIN
AND THE ENGLISH-SPEAKING
COMMONWEALTH 385
Great Britain 385
• Postwar British Cinema and Its Context 385
• The Free Cinema Movement 387
• British New Cinema, or Social Realism 389
• The End of Social Realism and Beyond 392
Australia and New Zealand 404
• Australia 404
• New Zealand 411
Canada 415
EUROPEAN RENAISSANCE:
WEST 425
The Second Italian Film Renaissance 425
• Federico Fellini 425
• Michelangelo Antonioni 428
• Ermanno Olmi, Pier Paolo Pasolini, and
Bernardo Bertolucci 433
• Other Italian Auteurs 435
Populär Cinema In Italy 441
Contemporary Widescreen Technologies
and Styles 444
Scandinavian or Nordic Cinema 448
• Ingmar Bergman and Others 448
• Sweden 451
• Finland 451
• Denmark and Dogme95 452
• Norway and Iceland 455
Spain 456
• Luis Bunuel 456
• New Spanish Cinema 460
Germany: Das neue Kino 463
• Postwar Origins 463
• Young German Cinema 463
• The New German Cinema 464
International Stature: Fassbinder, Herzog,
Wenders, and Others 467
• Rainer Werner Fassbinder 467
• Werner Herzog 470
• Wim Wenders 473
• Hans-Jürgen Syberberg and Others 475
• Jean-Marie Straub and Marxist Aesthetics 475
Poland 482
• The Polish School 482
• The Second Generation 484
• The Third Polish Cinema 486
• Solidarity and Polish Cinema 488
Former Czechoslovakia 490
• The Postwar Period 490
• The Czech New Wave 492
• Banned Forever 498
Hungary 500
• Three Revolutions 500
• András Kovács 502
• Miklós Jancsó 503
• Gaálf Szabó, and Mészáros 505
• Other Hungarian Directors 508
Former Yugoslavia 51 1
• Partisan Cinema and Nationalist Realism 512
• /Vow Film 513
• The Prague Group 517
Bulgaria 523
Romania 526
Other Balkan Cinemas 529
The Importance of Eastern European Cinema 531
THE FORMER SOVIET UIMIOIM 533
Cirt#|giji during the Khrushchev Thaw 534
inov and Shadows of
en Ancestors 53*7
Tder Brezhnev 539
: the Non-Russian Republics 542
j i 1
a 542
• Lithuania 542
• Latvia 543
• Estonia 544
Moldavia (Moldova) 544
Transcaucasian Cinema 545
• Georgia 545
• Armenia 547
• Azerbaijan 549
Central Asian Cinema 551
• Uzbekistan 551
• Kazakhstan 552
• Kirghizia (Kyrgyzstan) 553
• Tadjikistan 554
• Turkmenistan 555
Soviet Russian Cinema 555
Glasnost, Perestroika, and the Collapse
of the Soviet Union 560
18
WIND FROM THE EAST: JAPAN,
INDIA, AND CHINA 565
Japan 565
• The Early Years 565
• Sound 567
• War 568
• Occupation 569
• Rashomon, Kurosawa, and the
Postwar Renaissance 570
• Kenji Mizoguchi 574
• Yasujiro Ozu 575
• Offscreen Space 577
• The Second Postwar Generation 578
• The Japanese New Wave 580
• Japanese Filmmaking after the NewWave 586
• Decline of the Studios 591
India 594
• Satyajit Ray 597
• Parallel Cinema 598
• Regional Cinemas 599
China 603
• The People s Republic of China 604
• Hong Kong 609
• Taiwan (Republic of China) 618
19
THIRD WORLD CINEMA 623
Latin America 625
• Mexico 627
• Brazil 629
• Argentina 632
• Bolivia, Peru, and Chile 635
• Venezuela, Colombia, and Central America 638
Cuba and the New Latin American Cinema 640
Africa 643
• North Africa 643
• Sub-Saharan Africa 647
The Middle East 651
• Iran 651
• Israel 657
The Pacific Rim 659
20
HOLLYWOOD, 1965-1995 669
The New American Cinema 671
• The Impact of Bonnie and Clyde 671
• 2001: A Space Odyssey 674
• The Wild Bunch: Zapping the Cong 676
• End of a Dream 677
Hollywood in the Seventies and the Eighties 679
• Inflation and Conglomeration 679
• New Filmmakers of the Seventies
and the Eighties 682
• The American Film Industry in the
Age of Kidpix 690
• Developments in Film Stock 693
• The Effects of Video 694
THE DIGITAL DOMAIN 701
Digital Production 701
• Origins of Computer Animation, 1962—1988 702
Industrial Light Magic 705
• Prom The Abyss to Death Becomes Her 705
• The Impact of Jurassic Park, 1993—1996 708
Digital Domain and Titanic 709
Particle Animation, 1996—1997:
Twister, independence Day,
and Starship Troopers 710
A New New Hollywood, 1997-1998 713
The Digital Manipulation of Color 716
Bread and Circuses 719
Millennial Visions 722
A New Aesthetic for a New Century 723
Digital 3-D 726
The Digital Future 728
A GLOBAL CINEMA? 733
Megapictures, or Tent Poles 733
Hollywood Abroad 738
Globalization s Effects on Local Cinemas 738
Digital Distribution 742
Independent Film 743
A Glut of Indie Films? 744
Slow Cinema, Long Films 745
Long Movies on Television 746
DVD 748
Binge-Watching 748
Giants in the Earth 750
Some Contemporary Trends 750
• The Rise and Fall of Torture Porn 750
• The Hybridization of Comedy and Drama 751
Four Comic Talents 752
Other American Auteurs 755
Shape of the Future 764
Glossary 765
Photo Credits 782
Name Index 787
Subject Index 804
|
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| spelling | Cook, David A. Verfasser (DE-588)1072861038 aut A history of narrative film David A. Cook, the University of North Carolina at Greensboro Fifth edition New York ; London W.W. Norton & Company [2016] © 2016 xvii, 845 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Film Geschichte Motion pictures History Film (DE-588)4017102-4 gnd rswk-swf Geschichte (DE-588)4020517-4 gnd rswk-swf (DE-588)4123623-3 Lehrbuch gnd-content Film (DE-588)4017102-4 s Geschichte z DE-604 Geschichte (DE-588)4020517-4 s 1\p 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=029380722&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 |
| spellingShingle | Cook, David A. A history of narrative film Film Geschichte Motion pictures History Film (DE-588)4017102-4 gnd Geschichte (DE-588)4020517-4 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4020517-4 (DE-588)4123623-3 |
| title | A history of narrative film |
| title_auth | A history of narrative film |
| title_exact_search | A history of narrative film |
| title_full | A history of narrative film David A. Cook, the University of North Carolina at Greensboro |
| title_fullStr | A history of narrative film David A. Cook, the University of North Carolina at Greensboro |
| title_full_unstemmed | A history of narrative film David A. Cook, the University of North Carolina at Greensboro |
| title_short | A history of narrative film |
| title_sort | a history of narrative film |
| topic | Film Geschichte Motion pictures History Film (DE-588)4017102-4 gnd Geschichte (DE-588)4020517-4 gnd |
| topic_facet | Film Geschichte Motion pictures History Lehrbuch |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029380722&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT cookdavida ahistoryofnarrativefilm |