9781319059514

The Film Experience

by ;
  • ISBN13:

    9781319059514

  • ISBN10:

    1319059511

  • Edition: 5th
  • Format: Paperback
  • Copyright: 2017-11-10
  • Publisher: Bedford/St. Martin's

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Supplemental Materials

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  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
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Summary

The experience of watching films can begin with journeying to imaginary worlds, witnessing re-creations of history, observing stars in familiar and unfamiliar roles, and exploring the laughter, thrills, or emotions of different genres. Understanding the full depth and variety of these experiences starts with that enjoyment. But it also requires knowledge of the technology, business, history, and visual language of cinema. The Film Experience brings all of this together in one comprehensive book.



The Film Experience: An Introduction aims to help students learn these film languages and synthesize them into a cohesive understanding of the medium that will, in turn, enhance their own film experiences. The new edition places special emphasis on representation throughout the history of film, highlighting voices and groups from the past that interact with the medium’s future. More than ever, the book places important historical developments in the modern, accessible context of ever-changing film technology, economics, and narrative. Throughout the book (and online through its LaunchPad Solo), perfect examples and digital tools bring this material to life.

Table of Contents

PART 1


CULTURAL CONTEXTS:


watching, studying, and making movies



introduction Studying Film: Culture and Experience



Why Film Studies Matters


Film Spectators and Film Cultures


FORM IN ACTION: Identification, Cognition, and Film Variety


 



chapter 1 Encountering Film: From Preproduction to Exhibition


Production: How Films Are Made


Preproduction


Production


Postproduction


Distribution: What We Can See


Distributors


Ancillary Markets


Distribution Timing


Film in Focus: Distributing Killer of Sheep (1977)


Marketing and Promotion: What We Want to See


Generating Interest


Advertising


Form in Action: The Changing Art and Business of the Film Trailer


viewing cue: Suicide Squad (2016)


Word of Mouth and Fan Engagement


Movie Exhibition: The Where, When, and How of Movie Experiences


The Changing Contexts and Practices of Film Exhibition


Technologies and Cultures of Exhibition


The Timing of Exhibition


FILM IN FOCUS: Exhibiting Citizen Kane (1941)


 



chapter 2 History and Historiography: Hollywood and Beyond


Silent Cinema 355


Early Hollywood Features


German Expressionist Cinema



Soviet Silent Films


French Cinema


HISTORY CLOSE-UP: Oscar Micheaux


The Sound Era


Classical Hollywood Cinema


European Cinema in the 1930s and 1940s


Golden Age Mexican Cinema


Postwar Cinemas (1945-1975)


Postwar Hollywood


Italian Neorealism


viewing cue: Gilda (1946) and Rome, Open City (1945)


French New Wave


Japanese Cinema


Third Cinema


Global Cinema Cultures (1975-2000)


Contemporary Hollywood


film in focus: Taxi Driver and New Hollywood (1976)


Independent Cinema


Contemporary European Cinema


Indian Cinema


African Cinema


Digital Cinema (2000-present)


Hollywood in the 21st Century


Chinese Cinema


Iranian Cinema


FILM IN FOCUS: Lost and Found History: Within Our Gates (1920)


Film Preservation and Archives


Orphan Films


Concepts at Work


 



PART 2


FORMAL COMPOSITIONS:


film scenes, shots, cuts, and sounds



chapter 3 Mise-en-Scène: Exploring a Material World


A Short History of Mise-en-Scène


Theatrical Mise-en-Scène and the Prehistory of Cinema


1900–1912: Early Cinema’s Theatrical Influences


1915–1928: Silent Cinema and the Star System


1930s–1960s: Studio-Era Production


1940–1970: New Cinematic Realism


1975–Present: Mise-en-Scène and the Blockbuster


The Elements of Mise-en-Scène


Settings and Sets



viewing cue: Life of Pi (2012)


Scenic Realism and Atmosphere


Props, Costumes, and Lights


FILM IN FOCUS: Mise-en-Scène in Do the Right Thing (1989)


viewing cue: Boyhood (2014)


Performance: Actors and Stars


FORM IN ACTION: Mise-en-Scène in Hugo (2011)


Making Sense of Mise-en-Scène


Defining Our Place in a Film’s Material World


Interpretive Contexts for Mise-en-Scène


FILM IN FOCUS: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)


Spectacularizing the Movies



Concepts at Work


 



chapter 4 Cinematography: Framing What We See


A Short History of the Cinematic Image


1820s–1880s: The Invention of Photography and the Prehistory of Cinema


1890s–1920s: The 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 to the Present: The Digital Future


The Elements of Cinematography


Points of View


Four Attributes of the Shot


viewing cue: Touch of Evil (1958)


FORM IN ACTION: Color and Contrast in Film


viewing cue: Rear Window (1954)


viewing cue: The Battle of Algiers (1967)


Animation and Visual Effects : The Impact of Computer-Based Imaging


HISTORY CLOSE-UP: Floyd Norman


Making Sense of the Film Image


Defining Our Relationship to the Cinematic Image


Interpretive Contexts for the Cinematic Image


viewing cue: Vertigo (1958)


FILM IN FOCUS: From Angles to Animation in Vertigo (1958)


Concepts at Work


 



chapter 5 Editing: Relating Images


A Short History of Film Editing


1895–1918: Early Cinema and the Emergence of Editing


1919–1929: Soviet Montage


1930–1959: Continuity Editing in the Hollywood Studio Era


1960–1989: Modern Editing Styles


HISTORY CLOSE-UP: Women in the Editing Room


1990s–Present: Editing in the Digital Age


The Elements of Editing


The Cut and Other Transitions


viewing cue: Chinatown (1974)


Continuity Style


Editing and Temporality


viewing cue: The General (1927)


FORM IN ACTION: Editing and Rhythm in Moulin Rouge! (2001) 160


Making Sense of Film Editing 161


FILM IN FOCUS: Patterns of Editing in Bonnie and Clyde (1967) 162


Disjunctive Editing


Converging Editing Styles


Concepts at Work


 



chapter 6 Film Sound: Listening to the Cinema


A Short History of Film Sound


Theatrical and Technological Prehistories of Film Sound


1895–1920s: The Sounds of Silent Cinema


1927–1930: Transition to Synchronized Sound


1930s–1940s: Challenges and Innovations in Cinema Sound


1950s–Present: From Stereophonic to Digital Sound


The Elements of Film Sound


Sound and Image


VIEWING CUE: Guardians of the Galaxy (2014)


Sound Production


Film in focus: Sound and Image in Singin’ in the Rain (1952)


Voice in Film


Music in Film


FORM IN ACTION: Pop Music Soundtracks in Contemporary Cinema


Sound Effects in Film


viewing cue: Winter’s Bone (2010)


viewing cue: The Thin Red Line (1998)


Making Sense of Film Sound


Authenticity and Experience


Sound Continuity and Sound Montage


FILM IN FOCUS: The Role of Sound and Sound Technology in The Conversation (1974)


Concepts at Work


 



PART 3


ORGANIZATIONAL STRUCTURES:


from stories to genres



chapter 7 Narrative Films: Telling Stories


A Short History of Narrative Film


1900–1920s: Adaptations, Scriptwriters, and Screenplays


1927–1950: Sound Technology, Dialogue, and Classical Hollywood Narrative


1950–1980: Art Cinema


1980s–Present: From Narrative Reflexivity to Games


HISTORY CLOSE UP: Salt of the Earth


The Elements of Narrative Film


Stories and Plots


Characters


Diegetic and Nondiegetic Elements


Narrative Patterns of Time


FORM IN ACTION: Nondiegetic Images and Narrative


viewing cue: Shutter Island (2010)


Narrative Space


Narrative Perspectives


viewing cue: The Royal Tenenbaums (2001)


FILM IN FOCUS: Plot and Narration


Making Sense of Film Narrative


Shaping Memory, Making History


Narrative Traditions


viewing cue: Midnight Cowboy (1969)


FILM IN FOCUS: Classical and Alternative Traditions in Mildred Pierce (1945) and Daughters of the Dust (1991)


Concepts at Work


 



chapter 8 Documentary Films: Representing the Real


A Short History of Documentary Cinema


A Prehistory of Documentaries


1895–1905: Early Actualities, Scenics, and Topicals


The 1920s: Robert Flaherty and the Soviet Documentaries


1930–1945: The Politics and Propaganda of Documentary


1950s–1970s: New Technologies and the Arrival of Television


1980s–Present: Digital Cinema, Cable, and Reality TV


The Elements of Documentary Films


Nonfiction and Non-Narrative


Expositions: Organizations That Show or Describe


FILM IN FOCUS: Nonfiction and Non-Narrative in Man of Aran (1934)


viewing cue: The Cove (2009)


Rhetorical Positions


viewing cue: He Named Me Malala (2015)


Making Sense of Documentary Films


Revealing New or Ignored Realities


Confronting Assumptions, Altering Opinions


Serving as a Social, Cultural, and Personal Lens


FILM IN FOCUS: Stories We Tell (2012)


HISTORY CLOSE-UP: Indigenous Media


FORM IN ACTION: The Contemporary Documentary: What Happened, Miss Simone? (2016)


Concepts at Work


 



chapter 9 Experimental Film and New Media: Challenging Form A Short History of Experimental Film and Media Practices


1910s–1920s: European Avant-Garde Movements


1930s–1940s: Sound and Vision


1950s–1960s: The Postwar Avant-Garde in America


FILM IN FOCUS: Avant-Garde Visions in Meshes of the Afternoon (1943)


1968–1980: Politics and Experimental Cinema


1980s–Present: New Technologies and New Media


Formalist Strategies


Abstraction


Narrative Experimentation


Experimental Organizations: Associative, Structural, and Participatory


FILM IN FOCUS: Formal Play in Ballet mecnanique (1924)


Making Sense of Experimental Media


Challenging and Expanding Perception


Experimental Film Styles and Approaches


viewing cue: Gently Down the Stream (1964)


FORM IN ACTION: Lyrical Style in Bridges-Go-Round (1958)


viewing cue: The Future (2011)


Concepts at Work


 



chapter 10 Movie Genres: Conventions, Formulas, and Audience Expectations


A Short History of Film Genre


Historical Origins of Genres


Early Film Genres


1920s–1940s: Genre and the Studio System


1948–1970s: Postwar Film Genres


1970s–Present: New Hollywood, Sequels, and Global Genres


The Elements of Film Genre


Conventions


Formulas and Myths


Audience Expectations


Six Movie Genres


Comedies


Westerns


Melodramas


Musicals


viewing cue: La La Land (2016)


Horror Films


Crime Films


viewing cue: The Searchers (1956)


Making Sense of Film Genres


Prescriptive and Descriptive Approaches


Classical and Revisionist Traditions


FILM IN FOCUS: Crime Film Conventions and Formulas: Chinatown (1974)


viewing cue: Unforgiven (1992)


HISTORY CLOSE UP: John Waters and Midnight Movies


FORM IN ACTION: Melodrama and In the Mood for Love (2000)


Local and Global Genres


Concepts at Work


 



PART 4


CRITICAL PERSPECTIVES:


Reading and writing about film


 



chapter 11 Reading about Film: Critical Theories and Methods


The Evolution of Film Theory


Early and Classical Film Theory


Early Film Theory


Classical Film Theories: Formalism and Realism


Postwar Film Culture and Criticism


Film Journals


Auteur Theory


Genre Theory


Contemporary Film Theory


Structuralism and Semiotics


viewing cue: The Wizard of Oz (1939)


Poststructuralism


FILM IN FOCUS: Signs and Meaning


Theories of Gender and Sexuality


Cultural Studies


Film and Philosophy


Postmodernism and New Media


FILM IN FOCUS: Clueless about Contemporary Film Theory? (1995)


Concepts at Work


 



chapter 12 Writing a Film Essay: Observations, Arguments, Research, and Analysis


Writing an Analytical Film Essay


Personal Opinion and Objectivity


viewing cue: Birdman (2014)


Identifying Your Readers


Elements of the Analytical Film Essay


Preparing to Write about a Film


Asking Questions


Taking Notes


Selecting a Topic


FILM IN FOCUS: Analysis, Audience, and Minority Report (2002)


Elements of a Film Essay


Thesis Statement


Outline and Topic Sentences


Revising, Formatting, and Proofreading


Writer’s Checklist


Researching the Movies


Distinguishing Research Materials


FILM IN FOCUS: Interpretation, Argument, and Evidence in Rashomon (1950)


Using and Documenting Sources


FORM IN ACTION: Creating a Video Essay


FILM IN FOCUS: From Research to Writing about The Cabinet of Dr. Caligari (1920)


Concepts at Work


 



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