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Film: An Introductioncovers the movies students know and the films their instructors want them to know including the silent classics of D.W. Griffith and Sergei Eisenstein, the Hong Kong cinema of John Woo, the documentaries of Errol Morris and Michael Moore, and the contemporary films of Quentin Tarantino and Peter Jackson. Through meticulous coverage, an unmatched art program with over 500 frame enlargements, accessible language, and unique study tools,Filmhelps beginning students develop the critical skills they need to analyze films and understand the medium in all its variety.
WILLIAM H. PHILLIPS received his B.A. from Purdue University, his M.A. from Rutgers University, and his Ph.D. (in dramatic literature and film studies) from Indiana University. He has taught introductory film courses at the University of Illinois, Urbana; Indiana University, South Bend; California State University, Stanislaus; and the University of Wisconsin -- Eau Claire. His publications include the books Analyzing Films (1985), Writing Short Scripts (2nd ed., 1999), and Writing Short Stories: The Most Practical Guide (2002).
Table of Contents
PART ONE: THE EXPRESSIVENESS OF FILM TECHNIQUES Chapter 1: Mise en Scene SETTINGS SUBJECTS COMPOSITION: THE USES OF SPACE MISE EN SCENE AND THE WORLD OUTSIDE THE FRAME CLOSE-UP: Mise en Scene in Citizen Kane SUMMARY QUESTIONS ABOUT MISE EN SCENE WORKS CITED FOR FURTHER READING Chapter 2: Cinematography FILM STOCK LIGHTING THE CAMERA DIGITAL CINEMATOGRAPHY CLOSE-UP, Student Essay: Camera Distances and Angles in a Scene from Reversal of Fortune SUMMARY QUESTIONS ABOUT CINEMATOGRAPHY WORKS CITED FOR FURTHER READING Chapter 3: Editing EARLY FILM EDITING BUILDING BLOCKS CONTINUITY EDITING IMAGE ON IMAGE AND IMAGE AFTER IMAGE PACE AND TIME DIGITAL EDITING CLOSE-UP: The Expressiveness of Editing (and Other Techniques): An Excerpt from High Noon SUMMARY QUESTIONS ABOUT EDITING WORKS CITED FOR FURTHER READING Chapter 4: Sound FILM SOUND: EARLY AND RECENT COMPONENTS OF THE SOUNDTRACK AND THEIR USES ADDITIONAL USES OF SOUND CLOSE-UP, STUDENT ESSAY: Sound in One Minute of Fatal Attraction CLOSE-UP: Vocals, Sound Effects, and Music in an Excerpt from Psycho (1960) SUMMARY QUESTIONS ABOUT FILM SOUND WORKS CITED FOR FURTHER READING POSTSCRIPT TO PART ONE: OBVIOUS VS. SUBTLE FILM TECHNIQUES PART TWO: FICTIONAL FILMS Chapter 5: Sources for the Fictional Film SCREENPLAYS, SHOOTING SCRIPTS, AND STORYBOARDS INDIVIDUAL SOURCES MULTIPLE SOURCES CLOSE-UP, STUDENT ESSAY: "The Dead": Novella to Film SUMMARY QUESTIONS ABOUT SOURCES FOR THE FICTIONAL FILM WORKS CITED FOR FURTHER READING Chapter 6: Components of Fictional Films NARRATIVES: FACTUAL AND FICTIONAL SHORT FICTIONAL FILMS FULL-LENGTH FICTIONAL FILMS STRUCTURE TIME STYLE CLOSE-UP: The Plot and Fabula of Pulp Fiction (1994) SUMMARY QUESTIONS ABOUT COMPONENTS OF THE FICTIONAL FILM WORKS CITED FOR FURTHER READING Chapter 7: Types of Fictional Films CLASSICAL HOLLYWOOD CINEMA OTHER CINEMAS CLOSE-UP, STUDENT ESSAY: Out of the Past as Film Noir SUMMARY QUESTIONS ABOUT TYPES OF FICTIONAL FILMS WORKS CITED FOR FURTHER READING PART THREE: ALTERNATIVES TO LIVE-ACTION FICTIONAL FILMS Chapter 8: Documentary Films WHAT ARE DOCUMENTARY FILMS? WHAT MIGHT DOCUMENTARIES DO? WHAT ARE STEPS THAT COULD BE USED TO CONSTRUCT DOCUMENTARIES? HOW DOES FILMMAKING TECHNOLOGY AFFECT THE DOCUMENTARY FILMS MADE? CLOSE-UP: Hearts of Darkness: A Filmmaker’s Apocalypse as a Narrative Documentary Film SUMMARY QUESTIONS ABOUT DOCUMENTARY FILMS WORKS CITED FOR FURTHER READING Chapter 9: Experimental, Hybrid, and Animated Films EXPERIMENTAL FILMS HYBRID FILMS ANIMATION CLOSE-UP: "Un Chien Andalou" (1928) as an Experimental Film SUMMARY QUESTIONS ABOUT EXPERIMENTAL, HYBRID, AND ANIMATED FILMS WORKS CITED FOR FURTHER READING PART FOUR: UNDERSTANDING FILMS Chapter 10: Understanding Films through Contexts CONTEXTS IN WHICH A FILM HAS BEEN MADE THE FILM VERSION SEEN CONTEXTS IN WHICH A FILM HAS BEEN SEEN CLOSE-UP: Homosexuality in The Maltese Falcon: The Novel, the Production Code, and the 1941 Movie SUMMARY QUESTIONS ABOUT UNDERSTAND FILMS THROUGH CONTEXTS WORKS CITED FOR FURTHER READING Chapter 11: Thinking About Films VIEWER EXPECTATIONS AND INTERACTIONS TYPES OF MEANINGS FORMULATED INFLUENCES ON THE WAYS WE THINK ABOUT FILMS CLOSE-UP, STUDENT ESSAY: The Significance of "Rosebud" CLOSE-UP: Thinking About "The Truman Show" (1998) SUMMARY QUESTIONS ABOUT THINKING ABOUT FILMS WORKS CITED FOR FURTHER READING PART FIVE: WRITING ABOUT FILMS Chapter 12: Reading and Writing about Films READING TIPS WRITING ABOUT FILMS TWO SAMPLE STUDENT ESSAYS ANNOTATED BIBLIOGRAPHY FOR THE INTRODUCTORY FILM STUDENT Chapter 13: A Sample Description and Analysis: The Player DESCRIPTION CINEMATOGRAPHY EDITING SOUND SOURCES FOR THE FICTIONAL FILM ASPECTS OF THE FICTIONAL FILM TYPES OF FICTIONAL FILMS UNDERSTANDING THE PLAYER THROUGH CONTEXTS THINKING ABOUT THE PLAYER Appendices: A Chronology: Film in Context (1895-2008) Illustrated Glossary How to Read Film Credits Index