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Film Art : An Introduction with Tutorial CD-ROM,9780073310275
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Film Art : An Introduction with Tutorial CD-ROM

by
Edition:
8th
ISBN13:

9780073310275

ISBN10:
0073310271
Format:
Paperback
Pub. Date:
11/27/2006
Publisher(s):
McGraw-Hill Humanities/Social Sciences/Languages
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Summary

Film is an art form with a language and an aesthetic all its own. Since 1979, Film Art by David Bordwell and Kristin Thompson has been the best-selling and widely respected introduction to the study of cinema. Using a skills-centered approach, the authors strive to help students develop a core set of analytical tools that will deepen their understanding of any film, in any genre. Film Art is generously illustrated with frame enlargements that enable students to view images taken directly from the completed films.

Table of Contents

Prefacep. xvii
Film Art and Filmmaking
Film as Art: Creativity, Technology, and Businessp. 2
Film Artistry in Shadow of a Doubtp. 3
Box: A Closer Look: Picking out Patternsp. 8
Mechanics of the Moviesp. 10
Illusion Machinedp. 10
Making the Movie: Film Productionp. 14
The Scriptwriting and Funding Phasep. 15
The Preparation Phasep. 16
Shooting Phasep. 17
The Assembly Phasep. 21
Box: A Closer Look: Some Terms and Roles in Film Productionp. 22
Artistic Implications of the Production Processp. 25
Modes of Productionp. 25
Large-Scale Productionp. 25
Exploitation and Independent Productionp. 26
Small-Scale Productionp. 28
Artistic Implications of Different Modes of Productionp. 29
Box: A Closer Look: Convergences: Film and Videop. 30
Bringing the Film to the Audience: Distribution and Exhibitionp. 34
Distribution: The Center of Powerp. 34
Exhibition: Theatrical and Nontheatricalp. 39
Box: Movies on Screen: A 2004 Profile of Theatrical Exhibitionp. 41
Artistic Implications of Distribution and Exhibitionp. 42
Summaryp. 47
Where to Go from Herep. 47
Websitesp. 50
Recommended DVDsp. 50
Recommended DVD Supplementsp. 50
Film Form
The Significance of Film Formp. 54
The Concept of Form in Filmp. 54
Form as Systemp. 54
"Form" Versus "Content"p. 56
Formal Expectationsp. 56
Conventions and Experiencep. 58
Form and Feelingp. 59
Form and Meaningp. 60
Evaluationp. 63
Principles of Film Formp. 65
Functionp. 65
Similarity and Repetitionp. 66
Difference and Variationp. 67
Developmentp. 68
Unity and Disunityp. 70
Summaryp. 71
Where to Go from Herep. 72
Websitesp. 73
Recommended DVD Supplementsp. 73
Narrative as a Formal Systemp. 74
Principles of Narrative Constructionp. 74
Plot and Storyp. 76
Cause and Effectp. 77
Timep. 80
Spacep. 82
Box: A Closer Look: Playing Games with Story Timep. 83
Openings, Closings, and Patterns of Developmentp. 86
Narration: The Flow of Story Informationp. 88
Range of Story Informationp. 88
Depth of Story Informationp. 90
The Narratorp. 92
Summing Up Narrationp. 93
The Classical Hollywood Cinemap. 94
Narrative Form in Citizen Kanep. 96
Overall Narrative Expectations in Citizen Kanep. 96
Plot and Story m Citizen Kanep. 97
Citizen Kane's Causalityp. 99
Time in Citizen Kanep. 99
Motivation Citizen Kanep. 102
Citizen Kane's Parallelismp. 103
Patterns of Plot Development in Citizen Kanep. 103
Narration in Citizen Kanep. 104
Summaryp. 107
Where to Go from Herep. 107
Websitesp. 109
Recommended DVD Supplementsp. 109
Film Style
The Shot: Mise-en-Scenep. 112
What Is Mise-en-Scene?p. 112
Aspects of Mise-en-Scenep. 115
Settingp. 115
Costume and Makeupp. 119
Lightingp. 124
Staging: Movement and Performancep. 132
Box: A Closer Look: The Film Actor's Toolkitp. 134
Putting It All Together: Mise-en-Scene in Space and Timep. 140
Spacep. 142
Timep. 149
Narrative Functions of Mise-en-Scene in Our Hospitalityp. 153
Summaryp. 158
Where to Go from Herep. 158
Websitesp. 160
Recommended DVD Supplementsp. 160
The Shot: Cinematographyp. 162
The Photographic Imagep. 162
The Range of Tonalitiesp. 162
Speed of Motionp. 166
Perspectivep. 168
Box-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Ringsp. 179
Framingp. 182
Frame Dimensions and Shapep. 183
Box: A Closer Look: Common Aspect Ratios of 35mm Filmp. 184
Onscreen and Offscreen Spacep. 187
Angle, Level, Height, and Distance of Framingp. 190
The Mobile Framep. 194
Duration of the Image: The Long Takep. 207
Functions of the Long Takep. 208
The Long Take and the Mobile Framep. 210
Summaryp. 214
Where to Go from Herep. 214
Websitesp. 216
Recommended DVD Supplementsp. 216
The Relation of Shot to Shot: Editingp. 218
What Is Editing?p. 218
Dimensions of Film Editingp. 220
Graphic Relations Between Shot A and Shot Bp. 221
Rhythmic Relations Between Shot A and Shot Bp. 226
Spatial Relations Between Shot A and Shot Bp. 227
Temporal Relations Between Shot A and Shot Bp. 229
Continuity Editingp. 231
Spatial Continuity: The 180[Degrees] Systemp. 231
Continuity Editing in The Maltese Falconp. 234
Continuity Editing: Some Fine Pointsp. 238
More Refinements: Crossing the Axis of Actionp. 242
Crosscuttingp. 244
Temporal Editing: Order, Frequency, and Durationp. 245
Box: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editingp. 246
Alternatives to Continuity Editingp. 251
Graphic and Rhythmic Possibilitiesp. 251
Spatial and Temporal Discontinuityp. 252
Functions of Discontinuity Editing: Octoberp. 257
Summaryp. 260
Where to Go from Herep. 261
Websitesp. 263
Recommended DVD Supplementsp. 263
Sound in the Cinemap. 264
The Powers of Soundp. 265
Fundamentals of Film Soundp. 267
Perceptual Propertiesp. 267
Selection, Alteration, and Combinationp. 268
Dimensions of Film Soundp. 275
Rhythmp. 275
Fidelityp. 278
Spacep. 278
Box: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brownp. 280
Timep. 287
Functions of Film Sound: A Man Escapedp. 293
Fontaine's Commentaryp. 293
Sound Effects and Narrationp. 294
Sound Motifsp. 295
Musicp. 296
A Sample Sequencep. 296
Summaryp. 300
Where to Go from Herep. 301
Websitesp. 303
Recommended DVD Supplementsp. 303
Summary: Style as a Formal Systemp. 304
The Concept of Stylep. 304
Style and the Filmmakerp. 304
Style and the Viewerp. 305
Analyzing Film Stylep. 306
Determine the Organization Structurep. 306
Identify the Salient Techniques Usedp. 306
Trace Out Patterns of Techniquesp. 307
Propose Functions for the Salient Techniques and the Patterns They Formp. 308
Style in Citizen Kanep. 309
Summaryp. 316
Where to Go from Herep. 316
Recommended DVD Supplementsp. 316
Types of Films
Film Genresp. 318
Understanding Genrep. 318
Defining a Genrep. 318
Analyzing a Genrep. 320
Genre Historyp. 321
Box: A Closer Look: A Contemporary Genre: The Crime Thrillerp. 322
The Social Functions of Genresp. 326
Three Genresp. 328
The Westernp. 328
The Horror Filmp. 329
The Musicalp. 332
Summaryp. 336
Where to Go from Herep. 336
Websitesp. 337
Recommended DVD Supplementsp. 337
Documentary, Experimental, and Animated Filmsp. 338
Documentaryp. 338
What Is a Documentary?p. 338
Types Documentaryp. 340
The Boundaries Between Documentary and Fictionp. 341
Types of Form in Documentary Filmsp. 342
Categorical Formp. 343
Rhetorical Formp. 348
Experimental Filmp. 355
Types of Form in Experimental Filmsp. 356
Abstract Formp. 356
Associational Formp. 363
The Animated Filmp. 370
An Example of Narrative Animation: Duck Amuckp. 373
An Example of Experimental Animation: Fujip. 375
Summaryp. 378
Where to Go from Herep. 378
Websitesp. 380
Recommended DVD Supplementsp. 381
Critical Analysis of Films
Film Criticism: Critical Analysesp. 384
The Classical Narrative Cinemap. 385
His Girl Fridayp. 385
North by Northwestp. 388
Do The Right Thingp. 392
Narrative Alternatives to Classical Filmmakingp. 397
Breathless (A Bout de Souffle)p. 397
Tokyo Story (Tokyo Monogatari)p. 401
Chungking Express (Chung Hing sam lam)p. 405
Documentary Form and Stylep. 410
Man with a Movie Camera (Chelovek s kinoapparatom)p. 410
The Thin Blue Linep. 413
Form, Style, and Ideologyp. 419
Meet Me in St. Louisp. 419
Raging Bullp. 426
Writing a Critical Analysis of a Filmp. 431
Preparing to Writep. 431
Develop a Thesis That Your Essay Will Explain and Supportp. 431
Draw Up a Segmentation of the Entire Filmp. 431
Note Outstanding Instances of Film Techniquep. 432
Organizing and Writingp. 433
Summaryp. 434
Sample Essay: Fantasy and Reality in The King of Comedyp. 435
Where to Go from Herep. 437
Sample-Analysis Films on DVDp. 438
Film History
Film Art and Film Historyp. 440
Early Cinema (1893-1903)p. 441
The Development of the Classical Hollywood Cinema (1908-1927)p. 444
German Expressionism (1919-1926)p. 447
French Impressionism and Surrealism (1918-1930)p. 450
Impressionismp. 450
Surrealismp. 452
Soviet Montage (1924-1930)p. 453
The Classical Hollywood Cinema After the Coming of Soundp. 456
Italian Neorealism (1942-1951)p. 459
The French New Wave (1959-1964)p. 461
The New Hollywood and Independent Filmmakingp. 463
Contemporary Hong Kong Cinemap. 468
Where to Go from Herep. 472
Recommended DVDsp. 474
Recommended DVD Supplementsp. 476
Glossaryp. 477
Creditsp. 482
Indexp. 483
Table of Contents provided by Ingram. All Rights Reserved.


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