Introduction to film:
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London
Palgrave
2016
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| Ausgabe: | 2nd edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 1 Online-Ressource Illustrationen |
| ISBN: | 9781137463845 9781137463838 |
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Datensatz im Suchindex
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| adam_text | Titel: Introduction to film
Autor: Lacey, Nick
Jahr: 2016
List of Figures
List of Film Stills
List of Tables
Acknowledgements
Preface
Note on the text
CHAPTER 1 Film Language
1.1 Introduction
1.2 Introduction to mise en scene
1.3 Production design: sets, props and costumes
1.4 Lighting
1.5 Performance
1.6 Sound and music
1.7 Framing: position; depth of field; aspect ratio;
height and angle
1.8 Camera movement
1.9 Editing
1.10 Intensified continuity
1.11 Conclusion
CHAPTER 2 Film Narrative and Genre
2.1 Introduction
2.2 Introduction to narrative
2.3 Early cinema and narrative
pH (.: o n •, - n i v
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 Lumiere brothers and Melies;
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 Filmfestivals 163
4.8 Conclusion 165
CHAPTER 5 FilmTheory 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 Cinema verite and direct cinema 273
7.10 The French New Wave (Nouvelle 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 coiour 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
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