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Enjoy a more poignant film experience by diving into the details which built modern-day cinema as Film Experience combines, technology, business, the visual language of film, and its history into a single, cohesive presentation of this ever-evolving medium.
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
Glossary
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