| Edition |
Second edition. |
| Description |
xxii, 583 pages : illustrations (some color) ;; 28 cm |
| Bibliography |
Includes bibliographical references and index. |
| Contents |
Preface -- Part 1: Contexts: Making, Watching, And Studying Movies -- 1: Introduction to the film experience -- Why film studies? -- Film experience: film spectators and film cultures -- 2: Preparing viewers and views: production, distribution, promotion, and exhibition -- Many ways of viewing films -- Private and public tastes -- Identification -- Cognition -- Technologies of viewing films -- Film gauge -- Aspect ratio -- New media and media convergence -- Producing views: How films are made -- Preproduction -- Production -- Postproduction -- Distribution: What we can see -- Film In Focus: Producing The 400 Blows (1959) -- Distributing different views -- Ancillary markets: television, video/DVD, and Internet distribution -- Distribution timing -- Film In Focus: Distributing Killer of Sheep (1977) -- Marketing and promotion: What we want to see -- Generating our interest -- Advertising and ratings -- Word of mouth -- Film In Focus: Promoting The Crying Game (1992) -- Movie exhibition: Where, when, and how of movie experiences -- Changing contexts and practices of film exhibition -- Timing of exhibition -- Film In Focus: Exhibiting Citizen Kane (1941) -- Transforming Film: Changing contexts of film exhibition -- |
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Part 2: Compositions: Film Scenes, Shots, Cuts, And Sounds -- 3: Exploring a material world: mise-en-scene -- Short history of mise-en-scene -- Transforming Film: Changing stages of mise-en-scene -- Theatrical mise-en-scene and the prehistory of cinema -- 1900-1912: Early cinema's theatrical influences -- 1915-1928: Silent cinema and the star system -- 1930's-1960s: Studio-era production -- 1940-1970: New cinematic realism -- 1975-Present: Mise-en-scene and the blockbuster -- Elements of mise-en-scene -- Settings and sets -- Scenic and atmospheric realism -- Props, actors, costumes, and lights -- Film In Focus: Sets and settings in Meet Me in St Louis (1944) -- Film In Focus: From props to lighting in Do the Right Thing (1989) -- Transforming Film: Power of costume and make-up -- Significance of mise-en-scene -- Defining our place in a film's material world -- Interpreting film through context -- Spectacularzing the movies -- Film In Focus: Naturalistic mise-en-scene in Bicycle Thieves (1948) -- 4: Seeing through the image: cinematography -- Short history of the cinematic image -- 1820s-1880s: Invention of photography and the prehistory of cinema -- 1890s-1920s: Emergence and refinement of cinematography -- 1930s-1940s: Developments in color, wide-angle, and small-gauge cinematography -- 1950s-1960s: Widescreen, 3-D, and new color processes -- 1970s-1980s: Cinematography and exhibition in the age of the blockbuster -- 1990s and beyond: Digital future -- Elements of cinematography -- Points of view -- Four attributes of the shot -- Film In Focus: Frames and movements in The Grand Illusion (1937) -- Transforming Film: Changing color processes -- Digital technology -- Animation and special effects -- Significance of the film image -- Image as presentation or representation -- Image as presence and text -- Film In Focus: From angles to animation in Vertigo (1958) -- Film In Focus: Meaning through images in M (1931) -- |
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5: Relating images: editing -- Short history of film editing -- 1895-1920: Early cinema and classical editing style -- 1924-1929: Soviet montage -- 1929-1950: Studio era-from continuity editing to new realisms -- 1959-1989: Modern disjunctive editing -- Transforming Film: Editing techniques -- 1990s-Present: Editing in the digital age -- Elements of editing -- Cut and other transitions -- Film In Focus: Cutting to the chase in The General (1927) -- Editing narrative space -- Editing narrative time -- Editing narrative shapes and surfaces, movements and rhythms -- Film In Focus: Patterns of editing in Bonnie and Clyde (1967) -- Significance of film editing -- How editing makes meaning -- Continuity and disjunctive editing styles -- Transforming Film: Editing and the modernist aesthetic -- Converging editing styles -- Film In Focus: Montage from The Battleship Potemkin (1925) to The Untouchables (1987) -- 6: Listening to the cinema: film sound -- Short history of film sound -- Theatrical and technological prehistories of film sound -- 1895-1927: Sounds of silent cinema -- 1927-1930: Transition to synchronized sound -- 1930-1941: Challenges and innovations in cinema sound -- 1950-Present: From stereophonic to digital sound -- Elements of film sound -- Sound and image -- Film In Focus: Sound and image in Singin' in the Rain (1952) -- Sound protection -- Voice, music, sound effects -- Transforming Film: Changing role of music -- Significance of film sound -- Film In Focus: Subjectivity through sound in The Piano (1993) -- Authenticity and experience -- Sound continuity and sound montage -- Film In Focus: Ethics and effects of sound technology in The Conversation (1974) -- Part 3: Organizational Structures: From Stories To Genres -- 7: Telling stories about time: narrative films -- Short history of narrative film -- 1900-1920: Adaptations, scriptwriters, and screenplays -- 1927-1950: Sound technology, dialogue, and classical Hollywood narrative -- 1950-1980: Art cinema -- 1980-Present: Narrative reflexivity and games -- Elements of narrative film -- Stories and plots -- Characters -- Film In Focus: Plot and narration in Apocalypse Now (1979) -- Transforming Film: Evolution of character presentation -- Film In Focus: Characters in Casablanca (1942) -- Diegetic and nondiegetic elements -- Narrative patterns of time -- Narrative space -- Narrative perspectives -- Significance of film narrative -- Shaping memory, making history -- Film In Focus: Narrative space and time in The Searchers (1956) -- Narrative traditions -- Film In Focus: Classical and alternative traditions in Mildred Pierce (1945) and Daughters of the Dust (1991) -- |
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8: Representing the real: documentary films -- Short history of documentary cinema -- Prehistory of documentaries -- 1895-1905: Early actualities, scenics, and topicals -- 1920s: Robert Flaherty and the Soviet documentaries -- 1930-1945: Politics and propaganda of documentary -- Transforming Film: Changing topics and forms of documentary cinema -- 1950s-1970s: New technologies and the arrival of television -- 1980-Present: Digital cinema, cable, and reality TV -- Elements of documentary films -- Nonfiction and non-narrative -- Film In Focus: Nonfiction and non-narrative in Man of Aran (1934) -- Expositions: Organizations that show or describe -- Rhetorical positions -- Film In Focus: Organizational strategies and rhetorical positions in Sunless (1982) -- Significance of documentary films -- Revealing new or ignored realities -- Confronting assumptions, altering opinions -- Serving as a social, political, historical, and cultural lens -- Personal documentaries, reenactments, and mockumentaries -- Film In Focus: Manufacturing significance in The Man with the Movie Camera (1929) -- |
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9: Experimental screens: avant-garde film, video art, and new media -- Short history of experimental film and media practices -- 1910s-1920s: European avant-garde movements -- Transforming Film: From railway to experimental film -- 1930s-1940s: Sound and vision -- 1950s-1960s: Postwar avant-garde in America -- 1968 and After: Politics and experimental cinema -- 1980s-Present: New technologies and new media -- Elements of experimental media -- Formalisms: narrative experimentation and abstraction -- Experimental organizations: associative, structural, participatory -- Film In Focus: Formal play in Ballet mecanique (1924) -- Styles and perspectives: surrealist, lyrical, critical -- Significance of experimental media -- Challenging and expanding perception -- Experimental film traditions -- Film In Focus: Avant-garde visions in Meshes of the Afternoon (1943) -- 10: Rituals, conventions, archetypes, and formulas: movie genres -- Short history of film genre -- Historical origins of genres -- Transforming Film: Genre across media -- Early film genres -- 1920s-1940s: Genre and the studio system -- 1948-1970s: Postwar film genres -- 1970s-Present: New Hollywood, sequels, and global genres -- Elements of film genre -- Conventions, formulas, and expectations -- Film In Focus: Conventions and expectations in The Gold Rush (1925) -- Six paradigms -- Film In Focus: Generic Chinatown (1974) -- Significance of film genre -- Prescriptive and descriptive approaches -- Classical and revisionist genres -- Local and global genres -- Film In Focus: Significance of genre history in Vagabond (1985) -- Part 4: Histories: Hollywood And The World -- 11: Conventional film history: evolutions, masterpieces, and periodization -- Film history as evolution -- Points of origin -- Progress and conquest: more reality, money, and sophistication -- Transforming Film: Corporate history -- Film In Focus: Constructing origins in The Birth of a Nation (1915) -- Film history as masters and masterpieces -- Pioneers, silent masters, and European influences: 1900-1920 -- Studio classics and classicists: 1930s -- Transitional and turbulent visions: 1940s-1950s -- Rebels and visionaries, dealers and deals: 1960s-2000s -- Film In Focus: Mastery of Alfred Hitchcock -- Film history as periodization -- Early cinema -- Classical cinema -- Postwar cinema -- Contemporary cinema -- Film In Focus: Periodization and Taxi Driver (1976) -- Film preservation and archives -- |
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12: Global and local: inclusive histories of the movies -- Film history beyond Hollywood -- Film history before World War II -- Film history after World War II -- Film In Focus: Global cinema in The Apple (1998) -- Lost and found of American film history -- Transforming Film: Women who made movies -- Women who made the movies -- African American cinema -- Rewriting film history -- Film In Focus: Lost and found history: Within Our Gates (1920) -- Film, history, and cultural context -- Film In Focus: Historical context and Salt of the Earth (1954) -- Part 5: Reactions: Reading And Writing About Film -- 13: Reading about film: critical theories and methods -- Concepts and methods in film theory -- Concepts of specificity: the cinematic medium and film form -- Comparative methods: authorship and genre theories -- Film theory and historical context -- Early film theory -- Film In Focus: Genre and authorship in Touch of Evil (1958) -- Soviet film theory: Montage -- Classical film theories: Formalism and realism -- Role of film journals -- Film In Focus: Coding time in Timecode (2000) -- Critical questions in contemporary film theory -- Semiotics, structuralism, and Marxism -- Poststructuralism: psychoanalysis, apparatus theory, and spectatorship -- Theories of gender and sexuality -- New directions in film studies -- Cultural studies -- Film and philosophy -- Postmodernism and new media -- Film In Focus: Clueless (1995) about contemporary film theory? -- 14: Writing a film essay: observations, arguments, research, and analysis -- Writing an analytical film essay -- Personal and opinion and objectivity -- Identifying your readers -- Elements of the analytical film essay -- Preparing to write about a film -- Asking questions -- Taking notes -- Film In Focus: Analysis, audience, and Citizen Kane (1941) -- Selecting a topic -- Elements of a film essay -- Interpretation, argument, and evidence -- Thesis statement -- Film In Focus: Analyzing character as image in Sally Potter's Orlando (1993) -- Outline and topic sentences -- Revision, manuscript format, and proofreading -- Using film images in your paper -- Writer's checklist -- Researching the movies -- Distinguishing research materials -- Film In Focus: Interpretation, argument, and evidence in Rashomon (1950) -- Using and documenting sources -- Film In Focus: From research to writing about The Cabinet of Dr Caligari (1919) -- Glossary -- Acknowledgments -- Index. |
| Summary |
From the Publisher: The Film Experience is a comprehensive introduction to film that treats students as the avid movie fans they are while surpassing all other texts in helping them understand the art form's full scope, breadth, and depth. Like other introductory texts, it offers strong coverage of film's formal elements, but goes further by situating this formal knowledge in the larger cultural contexts that inform the ways that we all view film. The authors' rich narrative integrates the cultural history of film throughout and demonstrates how the elements, practices, economics, and history of the medium contribute to a film's many possible meanings. The outstanding art program-now in full color-visually reinforces all the key concepts and techniques discussed in the text. |
| Subject |
Motion pictures.
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| Added Author |
White, Patricia, 1964-
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| ISBN |
9780312445850 paperback |
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0312445857 paperback |
|
023022329X |
|
9780230223295 |
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