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Preface | p. xii |
Picture Credits | p. xv |
Introduction to Film Analysis | p. 1 |
Introduction | p. 3 |
Cinema: A Confluence of Artistry, Industry, and Technology | p. 4 |
How This Book Is Organized | p. 6 |
Technical Tips | p. 8 |
An Approach to Film Analysis | p. 9 |
Understanding Audience Expectations | p. 10 |
Expectations and Modes of Organization | p. 11 |
Expectations about Genres, Stars, and Directors | p. 13 |
The Orchestration of Detail | p. 15 |
Motifs | p. 15 |
Parallels | p. 16 |
Details and Structure | p. 19 |
Parallels in Openings and Closings | p. 19 |
Structure and Turning Points | p. 19 |
Repetition and Non-chronological Structure | p. 20 |
Creating Meaning Through the World Beyond Film | p. 21 |
Historical Events and Cultural Attitudes | p. 21 |
Stars as References | p. 22 |
Public Figures and Celebrities as References | p. 23 |
Intertextual References | p. 23 |
Avant-garde and Documentary References | p. 25 |
Meaningful References with Objects | p. 25 |
The Goal of Film Analysis: Articulating Meaning | p. 26 |
The Importance of Developing Interpretive Claims | p. 30 |
Summary | p. 30 |
Film Analysis: Reading Significant Details | p. 31 |
Historical References in Devil in a Blue Dress | p. 31 |
Writing About Film | p. 33 |
Getting Started | p. 34 |
Keeping a Film Journal | p. 34 |
Formulating a Thesis | p. 35 |
Four Types of Writing About Film | p. 35 |
The Scene Analysis Paper | p. 35 |
"The Divided Human Spirit in Fritz Lang's The Big Heat" | p. 36 |
The Film Analysis | p. 39 |
The Anxieties of Modernity in Steamboat Bill Jr. | p. 39 |
The Research Paper | p. 43 |
The Evolution of an Idea: The Changing Hollywood Aesthetic in The Conversation and Enemy of the State | p. 45 |
Works Cited (in the research paper) | p. 51 |
Conducting Archival Research | p. 52 |
The Popular Review | p. 53 |
Film Analysis | p. 59 |
Narrative Form | p. 61 |
Defining Narrative | p. 62 |
Framing the Fictional World: Diegetic and Non-Diegetic Elements | p. 63 |
Within the Diegesis: Selecting and Organizing Events | p. 65 |
Narrative Structure | p. 68 |
Techniques in Practice: Narrative Structure in Stagecoach | p. 70 |
Alternatives to Conventional Narrative Structure | p. 72 |
Variations on Narrative Conventions: Beyond Structure | p. 75 |
Perspective and Meaning | p. 76 |
Character Subjectivity | p. 79 |
Techniques in Practice: Noticing Shifts in Perspective | p. 81 |
Summary | p. 83 |
Film Analysis: Analyzing Narrative Structure | p. 84 |
The Narrative Complexity of Rashomon | p. 84 |
Mise en Scene | p. 87 |
Setting | p. 89 |
Describing Setting: Visual and Spatial Attributes | p. 91 |
The Functions of Setting | p. 92 |
Techniques in Practice: Same Film, Different Settings | p. 93 |
Techniques in Practice: Same Setting, Different Film | p. 94 |
The Human Figure | p. 97 |
Casting | p. 97 |
Acting Style | p. 98 |
Acting Brechtian: Distancing the Audience | p. 99 |
Actors' Bodies: Figure Placement | p. 100 |
Techniques in Practice: Figure Placement in Citizen Kane | p. 100 |
Actors' Bodies: Costumes and Props | p. 102 |
Actors' Bodies: Makeup | p. 104 |
Techniques in Practice: Physicality in Raging Bull and Ali | p. 106 |
Lighting | p. 107 |
Composition | p. 112 |
Balance and Symmetry | p. 112 |
Lines and Diagonals | p. 113 |
Framing | p. 115 |
Foreground and Background | p. 116 |
Light and Dark | p. 116 |
Color | p. 116 |
Two Approaches to Mise en Scene | p. 119 |
The Frame in Two Dimensions: Mise en Scene in German Expressionism | p. 119 |
Combining Mise en Scene and Camerawork: The Frame in Three Dimensions in French Poetic Realism | p. 121 |
Summary | p. 124 |
Film Analysis: The Functions of Space | p. 124 |
Spatial Oppositions in Thelma and Louise | p. 124 |
Cinematography | p. 129 |
Camerawork: The Camera in Time and Space | p. 134 |
Creating Meaning in Time: The Shot | p. 134 |
Altering Time: Slow and Fast Motion | p. 137 |
The Camera and Space: Height, Angle, and Shot Distance | p. 139 |
Camera Height | p. 140 |
Camera Angle | p. 140 |
Camera Distance | p. 143 |
Camera Movement: Exploring Space | p. 146 |
Horizontal and Vertical Movement | p. 146 |
Movement in Three Dimensions | p. 147 |
Techniques in Practice: Patterns of Camera Placement and Movement | p. 150 |
Lenses and Filters: The Frame in Depth | p. 151 |
The Visual Characteristics of Lenses: Depth of Field and Focal Length | p. 152 |
The Zoom Lens | p. 155 |
Combining Camera Movement and Lens Movement | p. 156 |
Through the Lens: Filters and Diffusers | p. 157 |
Techniques in Practice: Lenses and the Creation of Space | p. 159 |
Film Stock | p. 164 |
Characteristics of Film Stock | p. 164 |
Light and Exposure | p. 165 |
Film Stock and Color | p. 166 |
Wide Film and Widescreen Formats | p. 170 |
Processing Film Stock | p. 171 |
Special Visual Effects | p. 173 |
Manipulating the Image on the Set | p. 174 |
Creating Scene Transitions, Titles, and Credits: The Optical Printer | p. 177 |
Optical and Digital Compositing: Assembling the Elements of the Shot | p. 178 |
Computer-Generated Images | p. 179 |
Adding and Subtracting Frames | p. 180 |
Digital Cinema: Post-Production | p. 180 |
Digital Cinematography and Film Style | p. 182 |
Summary | p. 183 |
Film Analysis: Cinematography in Documentary Films | p. 184 |
Cinematography in Two Documentaries | p. 184 |
Editing | p. 191 |
The Attributes of Editing: Creating Meaning Through Collage, Tempo, and Timing | p. 193 |
Joining Images: A Collage of Graphic Qualities | p. 193 |
Tempo | p. 196 |
Shot Length | p. 196 |
Shot Transitions | p. 197 |
Adjusting the Timing of Shot Transitions | p. 199 |
Techniques in Practice: Using Contrasting Imagery and Timing to Romanticize the Outlaws in Bonnie and Clyde | p. 201 |
Story-Centered Editing and the Construction of Meaning | p. 203 |
Editing and Time | p. 203 |
Condensing and Expanding Time | p. 203 |
Suggesting the Simultaneity of Events | p. 205 |
Arranging the Order of Events | p. 206 |
Editing and Space | p. 207 |
Shot/Reverse Shot | p. 208 |
Eyeline Match | p. 210 |
Cutting to Emphasize Group Dynamics | p. 211 |
Cutaways | p. 212 |
Beyond Narrative: Creating Meaning Outside the Story | p. 212 |
Continuity Editing: Conventional Patterns and "Bending the Rules" | p. 213 |
Continuity and Space | p. 213 |
Continuity and Chronology | p. 215 |
"Breaking the Rules": The French New Wave and its Influence | p. 217 |
Associational Editing: Editing and Metaphor | p. 221 |
Soviet Montage | p. 221 |
Techniques in Practice: Soviet Montage Aesthetics in The Godfather | p. 226 |
Summary | p. 228 |
Film Analysis: Classical Editing | p. 228 |
Editing in Notorious | p. 229 |
Sound | p. 233 |
Film Sound: A Brief History | p. 234 |
Critical Debates over Film Sound | p. 236 |
Freeing Sound from Image | p. 239 |
The Relationship Between Sound and Image | p. 241 |
Emphasizing the Contrast Between Onscreen and Offscreen Space | p. 242 |
Emphasizing the Difference Between Objective Images and Subjective Sounds | p. 242 |
Emphasizing the Difference Between Diegetic Details and Non-diegetic Sound | p. 243 |
Emphasizing the Difference Between Image Time and Sound Time | p. 244 |
Emphasizing Differences in Image Mood and Sound Mood | p. 245 |
Three Components of Film Sound | p. 245 |
Dialogue | p. 246 |
Text and Subtext | p. 246 |
Volume | p. 247 |
Pitch | p. 248 |
Speech Characteristics | p. 248 |
Acoustic Qualities | p. 250 |
Addressing the Audience: the Voice-Over | p. 252 |
Sound Effects | p. 253 |
Functions of Sound Effects | p. 254 |
Characteristics of Sound Effects | p. 256 |
Techniques in Practice: Sound Effects and the Construction of Class in Days of Heaven | p. 259 |
Music | p. 260 |
Functions of Film Music | p. 261 |
Five Characteristics of Film Music | p. 264 |
Techniques in Practice: Bernard Herrmann's Score and Travis Bickle's Troubled Masculinity in Taxi Driver | p. 271 |
Summary | p. 273 |
Film Analysis: Sound and Language | p. 274 |
Language, Nationality, and Class in The Grand Illusion | p. 275 |
Alternatives to Narrative Fiction Film: Documentary and Avant-garde Films | p. 279 |
Three Modes of Filmmaking: A Comparison | p. 280 |
Documentary Film: "The Creative Treatment of Actuality" | p. 283 |
Narrative Documentaries | p. 285 |
Documentary Form | p. 286 |
Voice of Authority | p. 287 |
Talking Heads and Director-Participant | p. 287 |
Direct Cinema | p. 289 |
Self-reflexive Documentary | p. 290 |
The Mockumentary | p. 291 |
Ethics and Ethnography | p. 291 |
Avant-garde Film | p. 293 |
Surrealist Cinema | p. 294 |
Abstract Film | p. 296 |
Techniques in Practice: Interpreting Abstract Films | p. 297 |
The City Symphony | p. 298 |
Structuralist Film | p. 301 |
The Compilation Film | p. 301 |
Conducting Research on Documentary and Avant-garde Films: Locating Sources | p. 302 |
Summary | p. 303 |
Film Analysis: Interpreting Avant-garde Films | p. 304 |
Analyzing Meshes of the Afternoon | p. 304 |
Cinema and Culture | p. 308 |
Social Context and Film Style | p. 311 |
Hollywood's Industrial Context: The Studio System as Dream Factory | p. 312 |
Classical Style | p. 312 |
Economic Practice and Hollywood Convention | p. 314 |
Censorship and Hollywood Convention | p. 315 |
American Ideology and Entertainment | p. 317 |
Reaffirming or Resisting Dominant Ideology | p. 318 |
International Art Cinema | p. 321 |
The Ideology of "Art" | p. 323 |
Italian Neorealism | p. 325 |
Third Cinema | p. 327 |
Film and Ideology | p. 331 |
Ideology and Film Analysis | p. 333 |
Ideology and Film Spectatorship | p. 335 |
Anti-Communist Witch Hunts and Hollywood Cinema | p. 337 |
Racial Ideology and American Cinema | p. 339 |
Gender and Cinema | p. 343 |
Sexuality and Cinema | p. 346 |
Disability and Cinema | p. 348 |
Film Stardom as a Cultural Phenomenon | p. 355 |
Stars and the Movie Industry | p. 358 |
The Dynamics of Performance | p. 359 |
The Star Persona | p. 361 |
Stardom and Ideology | p. 366 |
Stars and Subcultures | p. 368 |
Fan Culture | p. 371 |
Genre | p. 373 |
What Makes a Genre? | p. 374 |
Major American Genres | p. 379 |
The Western | p. 379 |
Film Noir and the Hard-boiled Detective Film | p. 382 |
The Action Film | p. 383 |
The Science Fiction Film | p. 386 |
The Musical | p. 389 |
Genre, Film Production, and Audiences | p. 391 |
Genre Film and Aesthetic Appeal: Cliche or Strategic Repetition? | p. 392 |
Genre and the Status Quo | p. 393 |
Genres as Culturally Responsive Artifacts | p. 393 |
Genre and Film Authorship | p. 394 |
Film Authorship | p. 397 |
The Idea of the Auteur: From Cahiers du Cinema to the Sarris-Kael Debate | p. 398 |
Auteur as Marketing Strategy: Old and New Hollywood | p. 401 |
Studio-era Auteurs: Welles and Hitchcock | p. 402 |
Blockbuster Auteurs: Spielberg and Lucas | p. 405 |
Using the Auteur Approach to Interpret and Evaluate Films | p. 406 |
Readings in Auteur Criticism | p. 407 |
Ousmane Sembene | p. 407 |
Kathryn Bigelow | p. 408 |
Ang Lee | p. 409 |
Wong Kar Wai | p. 411 |
Jafar Panahi | p. 412 |
Cinema as Industry: Economics and Technology | p. 415 |
The Changing Structure of the Film Industry | p. 416 |
From Oligopolies to Conglomerates | p. 416 |
Horizontal Integration and Synergy | p. 418 |
Globalization | p. 418 |
Industry Labor Practices | p. 419 |
Outsourcing | p. 419 |
Runaway Productions | p. 420 |
Creative Centralization | p. 420 |
Films as Products | p. 421 |
The Blockbuster | p. 421 |
The High Concept Film | p. 422 |
Saturation Marketing | p. 422 |
Independent Film Culture | p. 423 |
Two Independent Institutions: Sundance and Miramax | p. 424 |
Film and the New Technology | p. 425 |
The Rise of the DVD | p. 426 |
Film and Digital Technologies | p. 427 |
Glossary | p. 432 |
Bibliography | p. 439 |
Index | p. 444 |
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