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Film, Form, and Culture w/ DVD-ROM,9780073123615
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Film, Form, and Culture w/ DVD-ROM

by
Edition:
3rd
ISBN13:

9780073123615

ISBN10:
0073123617
Format:
Package
Pub. Date:
8/2/2005
Publisher(s):
McGraw-Hill Humanities/Social Sciences/Languages

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Summary

This text looks at film from part to whole--from the shot and the cut to the cultural, political, and economic contexts in which films are made. "Teaching Film is about getting control of the image and handing that control over to students," argues author Robert Kolker, and that's just what he does in his teaching and writing about film, including in this outstanding textbook and DVD-ROM package.The new edition includes more detailed discussion of the shot, composition, editing, and genre; a thorough discussion of the technical and aesthetic changes resulting from film's digital transformation; and a revised discussion of the cultural context of film. The companion interactive DVD-ROM includes segments from classic and contemporary films, with explanatory text, stills, and animations illustrating key film elements and strategies.

Table of Contents

Preface

Introduction

Chapter One: Image and Reality

IMAGES OF IMAGES

The Truth of the Image
The Urge to Represent Reality
Perspective and the Pleasures of Tricking the Eye
Photography and Reality
Manipulation of the Image
Reality as Image
FROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGE
Moving Images
NOTES AND REFERENCES

Chapter Two: Formal Structures: How Films Tell Their Stories

THE IMAGE, THE WORLD, AND THE FILM STUDIO

From Image to Narrative

THE ECONOMICS OF THE IMAGE

The System Develops: Buster Keaton and Charlie Chaplin
The Growth of Corporate Filmmaking

THE CLASSICAL HOLLYWOOD STYLE

Fabricating the Image
The Whole and Its Parts
Making the Parts Invisible
Story, Plot, and Narration
Convention And Consciousness
Notes and References

Chapter Three: Building Blocks I: The Shot

THE SHOT

COMPOSITION: THE SIZE OF THE FRAME

Cinerama
Anamorphic and Flat Wide Screen Processes
Loss of Standards

HOW COMPOSITION WORKS

Composition in Early Cinema
D.W. Griffith
The 90-degree Rule
The Studios and the Shot

MISE-EN-SCNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULES

MISE-EN-SCNE IN STERNBERG, MURNAU, AND HITCHCOCK

ORSON WELLES AND THE REINVENTION OF COMPOSITION

Deep Focus and The Long Take

WORKING AGAINST THE RULES

LIGHTING AND COLOR

COMPOSING IN WIDE SCREEN

THE MOVING CAMERA

NOTES AND REFERENCES

Chapter Four: Building Blocks II: The Cut

THE DEVELOPMENT OF CONTINUITY CUTTING

Griffith and Cutting
Shot/Reverse Shot
Point Of View
Sight Lines
The 180-degree Rule

CONVENTION, CULTURE, RESISTANCE

Gender
Coding
Responses To Conventional Cutting
Eisensteinian Montage
The Narrative of the Classical Style
Avant-Garde Film
Working Creatively Within and Against Conventions
NOTES AND REFERENCES

Chapter Five: The Story Tellers of Film I

COLLABORATION AS CREATIVITY CREATIVE CRAFTSPEOPLE

Cinematographer
Production Designer
Computer Designer
Sound Designers
Editor
Composer
Screenwriter
Actors
Producer
Notes and References

Chapter Six: The Story Tellers of Film II: The Film Director

EUROPEAN ORIGINS

THE BIRTH OF THE AUTEUR

THE AUTEUR THEORY

Robert Altman
Martin Scorsese
Stanley Kubrick
Alfred Hitchcock

WOMEN AUTEURS

Womens Avant-garde Films
Maya Deren
Alice Guy-Blach and Lois Weber
Dorothy Arzner
Ida Lupino
Women Filmmakers Today
Julie Dash, Julie Taymor, and Chantal Akerman

THE AUTEUR ABROAD

AUTEURISM TODAY

NOTES AND REFERENCES

Chapter Seven: Film as Cultural Practice

FILM IN THE REALM OF CULTURE

CULTURE AS TEXT

Subcultures
Media and Cultures
The New Web

THEORIES OF CULTURE

The Frankfurt School
The Critique of American Popular Culture
High Culture, Masscult, and Midcult
Walter Benjamin and the Age of Mechanical Reproduction
The Aura of State Intervention
The Birmingham School of Cultural Studies
Reception and Negotiation
Judgment and Values
Intertextuality and Postmodernism

CULTURAL CRITICISM APPLIED TO VERTIGO AND DIE HARD

The Cultural-Technological Mix: Film and Television
Bruce Willis, TV, and Movies
The Actors Persona: Bruce Willis and James Stewart
Vertigo and the Culture of the Fifties
The Kinsey Reports
The Vulnerable Male in Film
Postmodern Villains
Ethnicity in Die Hard
The Buddy Film
The End of Redemption
NOTES AND REFERENCES

Chapter Eight: The Stories Told By Film I

MASTER NARRATIVES AND DOMINANT FICTIONS

Closure
The Master and the Dominant
Narrative Constraints
Censorship

GENRE

Subgenres
Genre and Gesture
Generic Origins
Generic Patterns: The Gangster Film
Genre and Narrative Economy

DOCUMENTARY

Newsreels and Television
Early Masters of the Documentary
Dziga Vertov and Esther Shub
Robert Flaherty
Pare Lorentz
Leni Riefenstahl
John Grierson and the British Documentary Movement
World War II
Cinma Vrit
Television Documentary

THE GENRES OF FICTION FILMS

Melodrama
Broken Blossoms
Now, Voyager
Casablanca
Film Noir
Expressionist Roots of Noir
Hard-Boiled Fiction
The Maltese Falcon
Murder, My Sweet; Double Indemnity; Scarlet Street
Anthony Mann
Noirs Climax
In A Lonely Place
The Wrong Man
Kiss Me Deadly
Touch of Evil
Noirs Rebirth
NOTES AND REFERENCES

Chapter Nine: The Stories Told By Film II

OTHER GENRES: THE WESTERN

The Landscape
The Obstacles to Westward Expansion
The Western Star and the Western Director
The Western After the Fifties

SCIENCE FICTION

Fritz Langs Metropolis
Alien and Blade Runner
Science Fiction in the Fifties
2001: A Space Odyssey

GENRE RESILIENCE

EUROPEAN AND OTHER CINEMAS

Italian Neorealism
Bicycle Thieves
Neorealism in America
The French New Wave
Jean-Luc Godard
Michelangelo Antonioni
Yasujiro Ozu
DOUGLAS SIRK, RAINER WERNER FASSBINDER, AND TODD HAYNES: ONE GENRE, THREE WAYS
The Filmmakers
The Common Thread
That Heaven Allows and Far From Heaven
Race
Gender
FassbinderAli: Fear Eats the Soul
The Influence of Bertolt Brecht
The Gaze
Fassbinders Narrative
Happiness is Not Always Fun
BRIEF CONCLUSIONS
NOTES AND REFERENCES
Glossary
Index
DVD-ROM Contents


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