| Description |
xviii, 526 pages : illustrations (some colour) ; 28 cm |
| Contents |
Contents note continued: A Closer Look---Intensified Continuity: Unstoppable, L. A. Confidential, and Contemporary Editing -- Alternatives to Continuity Editing -- Graphic and Rhythmic Possibilities -- Spatial and Temporal Discontinuity -- Creative Decisions---Discontinuity Editing in October -- Summary -- Recommended DVD And Blu-Ray Supplements -- ch. 7 Sound in Cinema -- Sound Decisions -- The Powers of Sound -- Sound Shapes Our Understanding of Images -- Sound Directs Our Attention -- Fundamentals of Film Sound -- Perceptual Properties -- Choosing, Altering, and Combining Sounds -- Creative Decisions---Editing Dialogue: To Overlap or Not to Overlap? -- Dimensions of Film Sound -- Rhythm -- Fidelity -- Space -- A Closer Look---Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown -- Time -- Functions of Film Sound: The Prestige -- Transported Men -- The Sounds of Magic -- Echoes, Visual and Auditory -- Two Journals -- Hinting at Secrets -- The Opening -- |
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Contents note continued: An Example of Associational Form: Koyaanisqatsi -- The Animated Film -- Types of Traditional Animation -- Types of Computer Animation -- An Example of Traditional Animation: Duck Amuck -- An Example of Experimental Animation: Dimensions of Dialogue -- Summary -- Recommended DVD And Blu-Ray Supplements -- pt. 5 Critical Analysis of Films -- ch. 11 Film Criticism: Sample Analyses -- The Classical Narrative Cinema -- His Girl Friday -- North by Northwest -- Do The Right Thing -- Narrative Alternatives to Classical Filmmaking -- Breathless (A bout de souffle) -- Tokyo Story (Tokyo Monogatari) -- Chungking Express (Chung Hing sam lam) -- Documentary Form and Style -- Man with a Movie Camera (Chelovek's kinoapparatom) -- The Thin Blue Line -- Form, Style, and Ideology -- Meet Me in St. Louis -- Raging Bull -- Appendix: Writing a Critical Analysis of a Film -- Preparing to Write -- Step 1 Develop a Thesis That Your Essay Will Explain and Support -- |
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Contents note continued: Ancillary Markets: Taking Movies beyond the Theater -- Artistic Implications of Distribution and Exhibition -- Summary -- Recommended DVD And Blu-Ray Supplements -- pt. 2 Film Form -- ch. 2 The Significance of Film Form -- The Concept of Form in Film -- Form as Pattern -- "Form" Versus "Content" -- Formal Expectations -- Conventions and Experience -- Form and Feeling -- Form and Meaning -- Evaluation: Good, Bad, or Indifferent? -- Principles of Film Form -- Function -- Similarity and Repetition -- A Closer Look---Creative Decisions: Picking Out Patterns -- Difference and Variation -- Development -- Unity and Disunity -- Summary -- Recommended DVD And Blu-Ray Supplements -- ch. 3 Narrative Form -- Principles of Narrative Form -- What Is Narrative? -- Telling the Story -- Creative Decisions---How Would You Tell the Story? -- Plot and Story -- Cause and Effect -- Time -- A Closer Look---Playing Games with Story Time -- Space -- |
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Contents note continued: Creative Decisions---Mobile Framing and Film Form: Grand Illusion and Wavelength -- Duration of the Image: The Long Take -- Real Time Is... What? -- Functions of the Long Take -- The Long Take and the Mobile Frame -- Summary -- Recommended DVD And Blu-Ray Supplements -- ch. 6 The Relation of Shot to Shot: Editing -- What Is Editing? -- Creative Decisions---Why Cut? Four Shots from The Birds -- Dimensions of Film Editing -- Graphic Relations between Shot A and Shot B -- Rhythmic Relations between Shot A and Shot B -- Spatial Relations between Shot A and Shot B -- Temporal Relations between Shot A and Shot B -- Continuity Editing -- Spatial Continuity: The 180℗ʻ System -- Continuity Editing in The Maltese Falcon -- Continuity Editing: Some Fine Points -- Creative Decisions---Are You Looking at Me? Point-of-View Cutting in Rear Window -- Crosscutting -- Temporal Continuity: Order, Frequency, and Duration -- |
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Contents note continued: French Impressionism and Surrealism (1918-1930) -- Impressionism -- Surrealism -- Soviet Montage (1924-1930) -- Artists and the State -- NEP Cinema -- The Priority of Editing -- The Movement Ends -- The Classical Hollywood Cinema after the Coming of Sound, 1930s-1940s -- Converting to Sound -- Problems and Solutions -- Studios, Genres, and Spectacle -- Deep Focus and Narrative Innovations -- Italian Neorealism (1942-1951) -- Leaving the Studio -- A New Model of Storytelling -- The Movement's End and Its Legacy -- The French New Wave (1959-1964) -- Movie Critics Become Moviemakers -- A New Wave Style -- Neorealism Recast -- Into the Mainstream and Beyond -- The New Hollywood and Independent Filmmaking, 1970s-1980s -- Blockbusters and Indie Pictures -- The Rise of the Movie Brats -- Other Paths -- The 1980s and After -- Hollywood and Independents, To Be Continued -- Hong Kong Cinema, 1980s-1990s -- A Local Tradition Goes Global -- |
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Contents note continued: Genre History -- A Closer Look---Creative Decisions in a Contemporary Genre: The Crime Thriller as Subgenre -- The Social Functions of Genres -- Three Genres -- The Western -- The Horror Film -- The Musical -- Summary -- Recommended DVD And Blu-Ray Supplements -- ch. 10 Documentary, Experimental, and Animated Films -- Documentary -- What Is a Documentary? -- The Boundaries between Documentary and Fiction -- Genres of Documentary -- Form in Documentary Films -- Categorical Form: Introduction -- Creative Decisions---Engaging Viewers Using Categorical Form -- An Example of Categorical Form: Gap-Toothed Women -- Rhetorical Form: Introduction -- An Example of Rhetorical Form: The River -- Experimental Film -- A Range of Technical Choices -- Types of Form in Experimental Film -- Abstract Form: Introduction -- Creative Decisions---Designing Form in an Abstract Film -- An Example of Abstract Form: Ballet Mecanique -- Associational Form: Introduction -- |
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Contents note continued: Openings, Closings, and Patterns of Development -- Narration: The Flow of Story Information -- Range of Story Information: Restricted or Unrestricted? -- Depth of Story Information: Objective or Subjective? -- The Narrator -- A Closer Look---Creative Decisions: When the Lights Go Down, the Narration Starts -- Creative Decisions---Choices about Narration in Storytelling -- The Classical Hollywood Cinema -- Narrative Form in Citizen Kane -- Overall Narrative Expectations in Citizen Kane -- Plot and Story in Citizen Kane -- Citizen Kane's Causality -- Time in Citizen Kane -- Motivation in Citizen Kane -- Citizen Kane's Parallelism -- Patterns of Plot Development in Citizen Kane -- Narration in Citizen Kane -- Summary -- Recommended DVD And Blu-Ray Supplements -- pt. 3 Film Style -- ch. 4 The Shot: Mise-en-Scene -- What Is Mise-en-Scene? -- The Power of Mise-en-Scene -- Components of Mise-en-Scene -- Setting -- Costume and Makeup -- Lighting -- |
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Contents note continued: Staging: Movement and Performance -- A Closer Look---The Film Actor's Toolkit -- Putting It All Together: Mise-en-Scene in Space and Time -- Creative Decisions---Mise-en-Scene in a Sequence from L'Avventura -- Space -- Creative Decisions---Mise-en-Scene in Two Shots from Day of Wrath -- Time -- Narrative Functions of Mise-en-Scene in Our Hospitality -- Summary -- Recommended DVD And Blu-Ray Supplements -- ch. 5 The Shot: Cinematography -- The Photographic Image -- The Range of Tonalities -- Speed of Motion -- A Closer Look---From Monsters to the Mundane -- Perspective -- Framing -- A Closer Look---Virtual Perspective: 3D -- Frame Dimensions and Shape -- Creative Decisions---Using Widescreen Framing -- Onscreen and Offscreen Space -- Camera Position: Angle, Level, Height, and Distance of Framing -- Creative Decisions---Camera Position in a Shot from The Social Network -- The Mobile Frame -- |
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Contents note continued: Step 2 Draw Up a Segmentation of the Entire Film -- Step 3 Note Outstanding Instances of Film Technique -- Organizing and Writing -- Introducing Your Thesis -- The Body: Reasons, Evidence, Examples -- Wrapping Things Up -- Summary: Key Questions for an Analytical Essay -- A Sample Analytical Essay -- Fantasy and Reality in The King of Comedy -- Sample-Analysis Films on DVD -- pt. 6 Film Art and Film History -- ch. 12 Historical Changes in Film Art: Conventions and Choices, Tradition and Trends -- Creative Decisions---Film Form and Style across History -- Traditions and Movements in Film History -- Early Cinema (1893-1903) -- Photography and Cinema -- Edison vs. Lumiere -- Early Form and Style -- Melies, Magic, and Fictional Narrative -- The Development of the Classical Hollywood Cinema (1908-1927) -- Hollywood and the Studio System of Production -- Classical Form and Style in Place -- German Expressionism (1919-1926) -- |
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Contents note continued: Summary -- Recommended DVD And Blu-Ray Supplements -- ch. 8 Summary: Style and Film Form -- The Concept of Style -- Creative Decisions---Style and the Filmmaker -- Decision Making: Techniques Working Together -- Watching and Listening: Style and the Viewer -- Analyzing Style -- 1.What Is the Film's Overall Form? -- 2.What Are the Primary Techniques Being Used? -- 3.What Patterns Are Formed by the Techniques? -- 4.What Functions Do the Techniques and Patterns Fulfill? -- A Closer Look---Stylistic Synthesis in Shadow of a Doubt -- Style in Citizen Kane -- Mystery and the Penetration of Space -- Style and Narration: Restriction and Objectivity -- Style and Narration: Omniscence -- Narrative Parallels: Settings -- Parallels: Other Techniques -- A Convincing Newsreel -- Plot Time through Editing -- Summary -- Recommended DVD And Blu-Ray Supplements -- pt. 4 Types of Films -- ch. 9 Film Genres -- Understanding Genre -- Defining a Genre -- Analyzing a Genre -- |
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Contents note continued: The New Generation: Two Schools -- Story and Style -- Legacy Overseas -- Recommended Dvd And Blu-Ray Discs |
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Machine generated contents note: pt. 1 Film Art and Filmmaking -- ch. 1 Film as Art: Creativity, Technology, and Business -- Art vs. Entertainment? Art vs. Business? -- Creative Decisions in Filmmaking -- Creative Decisions-To See into the Night in Collateral -- Mechanics of the Movies -- Illusion Machines -- Making Films with Photographic Film -- Films as Digital Media -- Making the Movie: Film Production -- The Scriptwriting and Funding Phase -- The Preparation Phase -- The Shooting Phase -- The Assembly Phase -- A Closer Look---Some Terms and Roles in Film Production -- Artistic Implications of the Production Process -- Modes of Production -- Large-Scale Production -- Exploitation, Independent Production, and DIY -- Small-Scale Production -- Artistic Implications of Different Modes of Production -- Bringing the Film to the Audience: Distribution and Exhibition -- Distribution: The Center of Power -- Exhibition: Theatrical and Nontheatrical -- |
| Summary |
Film is an art form with a language and an aesthetic all its own. In this new edition, the authors provide an introduction to the fundamentals of serious film study, with images throughout the text collected from actual film frames, not from production stills or advertising photos |
| Notes |
Formerly CIP. Uk |
| Bibliography |
Includes bibliographical references, filmography and index |
| Subject |
Motion pictures -- Aesthetics.
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Motion pictures.
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| Author |
Thompson, Kristin, 1950-
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| LC no. |
2012021855 |
| ISBN |
0073535109 (acid-free paper) |
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9780071318310 |
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9780073535104 (acid-free paper) |
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