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Preface | p. xvii |
Film Art and Filmmaking | |
Film as Art: Creativity, Technology, and Business | p. 2 |
Film Artistry in Shadow of a Doubt | p. 3 |
Box: A Closer Look: Picking out Patterns | p. 8 |
Mechanics of the Movies | p. 10 |
Illusion Machined | p. 10 |
Making the Movie: Film Production | p. 14 |
The Scriptwriting and Funding Phase | p. 15 |
The Preparation Phase | p. 16 |
Shooting Phase | p. 17 |
The Assembly Phase | p. 21 |
Box: A Closer Look: Some Terms and Roles in Film Production | p. 22 |
Artistic Implications of the Production Process | p. 25 |
Modes of Production | p. 25 |
Large-Scale Production | p. 25 |
Exploitation and Independent Production | p. 26 |
Small-Scale Production | p. 28 |
Artistic Implications of Different Modes of Production | p. 29 |
Box: A Closer Look: Convergences: Film and Video | p. 30 |
Bringing the Film to the Audience: Distribution and Exhibition | p. 34 |
Distribution: The Center of Power | p. 34 |
Exhibition: Theatrical and Nontheatrical | p. 39 |
Box: Movies on Screen: A 2004 Profile of Theatrical Exhibition | p. 41 |
Artistic Implications of Distribution and Exhibition | p. 42 |
Summary | p. 47 |
Where to Go from Here | p. 47 |
Websites | p. 50 |
Recommended DVDs | p. 50 |
Recommended DVD Supplements | p. 50 |
Film Form | |
The Significance of Film Form | p. 54 |
The Concept of Form in Film | p. 54 |
Form as System | p. 54 |
"Form" Versus "Content" | p. 56 |
Formal Expectations | p. 56 |
Conventions and Experience | p. 58 |
Form and Feeling | p. 59 |
Form and Meaning | p. 60 |
Evaluation | p. 63 |
Principles of Film Form | p. 65 |
Function | p. 65 |
Similarity and Repetition | p. 66 |
Difference and Variation | p. 67 |
Development | p. 68 |
Unity and Disunity | p. 70 |
Summary | p. 71 |
Where to Go from Here | p. 72 |
Websites | p. 73 |
Recommended DVD Supplements | p. 73 |
Narrative as a Formal System | p. 74 |
Principles of Narrative Construction | p. 74 |
Plot and Story | p. 76 |
Cause and Effect | p. 77 |
Time | p. 80 |
Space | p. 82 |
Box: A Closer Look: Playing Games with Story Time | p. 83 |
Openings, Closings, and Patterns of Development | p. 86 |
Narration: The Flow of Story Information | p. 88 |
Range of Story Information | p. 88 |
Depth of Story Information | p. 90 |
The Narrator | p. 92 |
Summing Up Narration | p. 93 |
The Classical Hollywood Cinema | p. 94 |
Narrative Form in Citizen Kane | p. 96 |
Overall Narrative Expectations in Citizen Kane | p. 96 |
Plot and Story m Citizen Kane | p. 97 |
Citizen Kane's Causality | p. 99 |
Time in Citizen Kane | p. 99 |
Motivation Citizen Kane | p. 102 |
Citizen Kane's Parallelism | p. 103 |
Patterns of Plot Development in Citizen Kane | p. 103 |
Narration in Citizen Kane | p. 104 |
Summary | p. 107 |
Where to Go from Here | p. 107 |
Websites | p. 109 |
Recommended DVD Supplements | p. 109 |
Film Style | |
The Shot: Mise-en-Scene | p. 112 |
What Is Mise-en-Scene? | p. 112 |
Aspects of Mise-en-Scene | p. 115 |
Setting | p. 115 |
Costume and Makeup | p. 119 |
Lighting | p. 124 |
Staging: Movement and Performance | p. 132 |
Box: A Closer Look: The Film Actor's Toolkit | p. 134 |
Putting It All Together: Mise-en-Scene in Space and Time | p. 140 |
Space | p. 142 |
Time | p. 149 |
Narrative Functions of Mise-en-Scene in Our Hospitality | p. 153 |
Summary | p. 158 |
Where to Go from Here | p. 158 |
Websites | p. 160 |
Recommended DVD Supplements | p. 160 |
The Shot: Cinematography | p. 162 |
The Photographic Image | p. 162 |
The Range of Tonalities | p. 162 |
Speed of Motion | p. 166 |
Perspective | p. 168 |
Box-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Rings | p. 179 |
Framing | p. 182 |
Frame Dimensions and Shape | p. 183 |
Box: A Closer Look: Common Aspect Ratios of 35mm Film | p. 184 |
Onscreen and Offscreen Space | p. 187 |
Angle, Level, Height, and Distance of Framing | p. 190 |
The Mobile Frame | p. 194 |
Duration of the Image: The Long Take | p. 207 |
Functions of the Long Take | p. 208 |
The Long Take and the Mobile Frame | p. 210 |
Summary | p. 214 |
Where to Go from Here | p. 214 |
Websites | p. 216 |
Recommended DVD Supplements | p. 216 |
The Relation of Shot to Shot: Editing | p. 218 |
What Is Editing? | p. 218 |
Dimensions of Film Editing | p. 220 |
Graphic Relations Between Shot A and Shot B | p. 221 |
Rhythmic Relations Between Shot A and Shot B | p. 226 |
Spatial Relations Between Shot A and Shot B | p. 227 |
Temporal Relations Between Shot A and Shot B | p. 229 |
Continuity Editing | p. 231 |
Spatial Continuity: The 180[Degrees] System | p. 231 |
Continuity Editing in The Maltese Falcon | p. 234 |
Continuity Editing: Some Fine Points | p. 238 |
More Refinements: Crossing the Axis of Action | p. 242 |
Crosscutting | p. 244 |
Temporal Editing: Order, Frequency, and Duration | p. 245 |
Box: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editing | p. 246 |
Alternatives to Continuity Editing | p. 251 |
Graphic and Rhythmic Possibilities | p. 251 |
Spatial and Temporal Discontinuity | p. 252 |
Functions of Discontinuity Editing: October | p. 257 |
Summary | p. 260 |
Where to Go from Here | p. 261 |
Websites | p. 263 |
Recommended DVD Supplements | p. 263 |
Sound in the Cinema | p. 264 |
The Powers of Sound | p. 265 |
Fundamentals of Film Sound | p. 267 |
Perceptual Properties | p. 267 |
Selection, Alteration, and Combination | p. 268 |
Dimensions of Film Sound | p. 275 |
Rhythm | p. 275 |
Fidelity | p. 278 |
Space | p. 278 |
Box: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown | p. 280 |
Time | p. 287 |
Functions of Film Sound: A Man Escaped | p. 293 |
Fontaine's Commentary | p. 293 |
Sound Effects and Narration | p. 294 |
Sound Motifs | p. 295 |
Music | p. 296 |
A Sample Sequence | p. 296 |
Summary | p. 300 |
Where to Go from Here | p. 301 |
Websites | p. 303 |
Recommended DVD Supplements | p. 303 |
Summary: Style as a Formal System | p. 304 |
The Concept of Style | p. 304 |
Style and the Filmmaker | p. 304 |
Style and the Viewer | p. 305 |
Analyzing Film Style | p. 306 |
Determine the Organization Structure | p. 306 |
Identify the Salient Techniques Used | p. 306 |
Trace Out Patterns of Techniques | p. 307 |
Propose Functions for the Salient Techniques and the Patterns They Form | p. 308 |
Style in Citizen Kane | p. 309 |
Summary | p. 316 |
Where to Go from Here | p. 316 |
Recommended DVD Supplements | p. 316 |
Types of Films | |
Film Genres | p. 318 |
Understanding Genre | p. 318 |
Defining a Genre | p. 318 |
Analyzing a Genre | p. 320 |
Genre History | p. 321 |
Box: A Closer Look: A Contemporary Genre: The Crime Thriller | p. 322 |
The Social Functions of Genres | p. 326 |
Three Genres | p. 328 |
The Western | p. 328 |
The Horror Film | p. 329 |
The Musical | p. 332 |
Summary | p. 336 |
Where to Go from Here | p. 336 |
Websites | p. 337 |
Recommended DVD Supplements | p. 337 |
Documentary, Experimental, and Animated Films | p. 338 |
Documentary | p. 338 |
What Is a Documentary? | p. 338 |
Types Documentary | p. 340 |
The Boundaries Between Documentary and Fiction | p. 341 |
Types of Form in Documentary Films | p. 342 |
Categorical Form | p. 343 |
Rhetorical Form | p. 348 |
Experimental Film | p. 355 |
Types of Form in Experimental Films | p. 356 |
Abstract Form | p. 356 |
Associational Form | p. 363 |
The Animated Film | p. 370 |
An Example of Narrative Animation: Duck Amuck | p. 373 |
An Example of Experimental Animation: Fuji | p. 375 |
Summary | p. 378 |
Where to Go from Here | p. 378 |
Websites | p. 380 |
Recommended DVD Supplements | p. 381 |
Critical Analysis of Films | |
Film Criticism: Critical Analyses | p. 384 |
The Classical Narrative Cinema | p. 385 |
His Girl Friday | p. 385 |
North by Northwest | p. 388 |
Do The Right Thing | p. 392 |
Narrative Alternatives to Classical Filmmaking | p. 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 Style | p. 410 |
Man with a Movie Camera (Chelovek s kinoapparatom) | p. 410 |
The Thin Blue Line | p. 413 |
Form, Style, and Ideology | p. 419 |
Meet Me in St. Louis | p. 419 |
Raging Bull | p. 426 |
Writing a Critical Analysis of a Film | p. 431 |
Preparing to Write | p. 431 |
Develop a Thesis That Your Essay Will Explain and Support | p. 431 |
Draw Up a Segmentation of the Entire Film | p. 431 |
Note Outstanding Instances of Film Technique | p. 432 |
Organizing and Writing | p. 433 |
Summary | p. 434 |
Sample Essay: Fantasy and Reality in The King of Comedy | p. 435 |
Where to Go from Here | p. 437 |
Sample-Analysis Films on DVD | p. 438 |
Film History | |
Film Art and Film History | p. 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 |
Impressionism | p. 450 |
Surrealism | p. 452 |
Soviet Montage (1924-1930) | p. 453 |
The Classical Hollywood Cinema After the Coming of Sound | p. 456 |
Italian Neorealism (1942-1951) | p. 459 |
The French New Wave (1959-1964) | p. 461 |
The New Hollywood and Independent Filmmaking | p. 463 |
Contemporary Hong Kong Cinema | p. 468 |
Where to Go from Here | p. 472 |
Recommended DVDs | p. 474 |
Recommended DVD Supplements | p. 476 |
Glossary | p. 477 |
Credits | p. 482 |
Index | p. 483 |
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