Film History: An Introduction

by Thompson, Kristin; Bordwell, David

• ISBN13: 9780070384293
• ISBN10: 0070384290
• Edition: 2nd
• Format: Paperback
• Copyright: 2002-08-06
• Publisher: McGraw-Hill Humanities/Social Sciences/Languages

Summary

Written by two leading film scholars, Film History: An Introduction is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling Film Art, concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

Table of Contents

Preface	xix
Introduction: Film History and How It Is Done	1	(1)
Why Do We Care About Old Movies?	1	(1)
What Do Film Historians Do?	2	(5)
Questions and Answers	2	(1)
Film History as Description and Explanation	3	(1)
Evidence	4	(1)
Explaining the Past: Basic Approaches	5	(1)
Explaining the Past: Organizing the Evidence	5	(2)
Our Approach to Film History	7	(2)
History as Story	9	(2)
Reference	10	(1)
Part One EARLY CINEMA	11	(11)
The Invention and Early Years of the Cinema, 1880s-1904	13	(9)
The Invention of the Cinema	14	(7)
Preconditions for Motion Pictures	14	(1)
Major Precursors of Motion Pictures	15	(1)
An International Process of Invention	16	(5)
Early Filmmaking and Exhibition	21	(1)
Scenics, Topicals, and Fiction Films	21	(1)
Creating an Appealing Program	21	(1)
The Growth of the French Film Industry	22	(1)
BOX: THE SPREAD OF THE CINEMA AROUND THE WORLD: SOME REPRESENTATIVE EXAMPLE	22	(2)
BOX: GEORGES MELIES, MAGICIAN OF THE CINEMA	24	(28)
England and the Brighton School	24	(3)
The United States: Competition and the Resurgence of Edison	27	(4)
Notes and Queries	31	(2)
Identification and Preservation of Early Films	31	(1)
Reviving Interest in Early Cinema: The Brighton Conference	32	(1)
Reference	32	(1)
Further Reading	32	(1)
The International Expansion of the Cinema, 1905-1912	33	(19)
Film Production in Europe	33	(4)
France: Pathe versus Gaumont	33	(2)
Italy: Growth through Spectacle	35	(1)
Denmark: Nordisk and Ole Olsen	36	(1)
Other Countries	37	(1)
The Struggle for the Expanding American Film Industry	37	(5)
The Nickelodeon Boom	37	(2)
The Motion Picture Patents Company versus the Independents	39	(1)
Social Pressures and Self-Censorship	40	(1)
The Rise of the Feature Film	41	(1)
The Star System	41	(1)
The Movies Move to Hollywood	42	(1)
The Problem of Narrative Clarity	42	(8)
Early Moves toward Classical Storytelling	43	(7)
An International Style	50	(1)
Notes and Queries	51	(1)
Griffith's Importance in the Development of Film Style	51	(1)
BOX: THE BEGINNINGS OF FILM ANIMATION	52	(9)
References	54	(1)
Further Reading	54	(1)
National Cinemas, Hollywood Classicism, and World War I, 1913-1919	55	(6)
The American Takeover of World Markets	56	(1)
The Rise of National Cinemas	57	(4)
Germany	57	(1)
Italy	58	(2)
Russia	60	(1)
BOX: THE BRIEF HEYDAY OF THE SERIAL	61	(10)
France	62	(1)
Denmark	63	(1)
Sweden	64	(4)
The Classical Hollywood Cinema	68	(3)
The Major Studios Begin to Form	68	(1)
Controlling Filmmaking	68	(2)
Filmmaking in Hollywood during the 1910s	70	(1)
BOX: PRECISION STAGING IN EUROPEAN CINEMA	71	(10)
Films and Filmmakers	73	(4)
Streamlining American Animation	77	(1)
Smaller Producing Countries	77	(2)
Notes and Queries	79	(2)
The Ongoing Rediscovery of the 1910s	79	(1)
References	80	(1)
Further Reading	80	(1)
Part Two THE LATE SILENT ERA. 1919-1929	81	(8)
France in the 1920s	85	(4)
The French Film Industry after World War I	85	(2)
Competition from Imports	85	(1)
Disunity within the Film Industry	86	(1)
Outdated Production Facilities	86	(1)
Major Postwar Genres	87	(1)
The French Impressionist Movement	88	(1)
The Impressionists' Relation to the Industry	88	(1)
A CHRONOLOGY OF FRENCH IMPRESSIONIST CINEMA	89	(15)
Impressionist Theory	90	(1)
Formal Traits of Impressionism	91	(7)
The End of French Impressionism	98	(1)
The Filmmakers Go Their Own Ways	98	(1)
Problems within the Film Industry	98	(1)
Notes and Queries	99	(2)
French Impressionist Theory and Criticism	99	(1)
Restoration Work on Napoleon	100	(1)
References	100	(1)
Further Reading	100	(1)
Germany in the 1920s	101	(3)
The German Situation after World War I	101	(1)
Genres and Styles of German Postwar Cinema	102	(2)
Spectacles	103	(1)
The German Expressionist Movement	103	(1)
A CHRONOLOGY OF GERMAN EXPRESSIONIST CINEMA	104	(12)
Kammerspiel	109	(1)
German Films Abroad	110	(1)
Major Changes in the Mid- to Late 1920s	110	(3)
The Technological Updating of the German Studios	111	(1)
The End of Inflation	112	(1)
The End of the Expressionist Movement	113	(1)
New Objectivity	114	(2)
BOX: G. W. PABST AND NEW OBJECTIVITY	116	(12)
Export and Classical Style	115	(3)
Notes and Queries	118	(1)
German Cinema and German Society	118	(1)
Expressionism, New Objectivity and the Other Arts	118	(1)
References	118	(1)
Further Reading	118	(1)
Soviet Cinema in the 1920s	119	(9)
The Hardships of War Communism, 1918-1920	119	(4)
Recovery under the New Economic Policy, 1921-1924	123	(1)
Increased State Control and the Montage Movement, 1925-1930	124	(4)
Growth and Export in the Film Industry	124	(1)
The Influence of Constructivism	125	(2)
A New Generation: The Montage Filmmakers	127	(1)
A CHRONOLOGY OF THE SOVIET MONTAGE MOVEMENT	128	(26)
The Theoretical Writings of Montage Filmmakers	129	(1)
Soviet Montage Form and Style	130	(8)
Other Soviet Films	138	(1)
The First Five-Year Plan and the End of the Montage Movement	139	(2)
Notes and Queries	141	(2)
Film Industry and Governmental Policy: A Tangled History	141	(1)
The Kuleshov Effect	141	(1)
The Russian Formalists and the Cinema	141	(1)
References	141	(1)
Further Reading	142	(1)
The Late Silent Era in Hollywood, 1920-1928	143	(11)
Theater Chains and the Structure of the Industry	144	(2)
Vertical Integration	144	(1)
Picture Palaces	145	(1)
The Big Three and the Little Five	145	(1)
The Motion Picture Producers and Distributors of America	146	(1)
Studio Filmmaking	147	(7)
Style and Technological Changes	147	(2)
Big-Budget Films of the 1920s	149	(3)
New Investment and Blockbusters	152	(1)
Genres and Directors	153	(1)
BOX: SILENT COMEDY IN THE 1920s	154	(20)
Foreign Filmmakers in Hollywood	158	(4)
Films for African American Audiences	162	(1)
The Animated Part of the Program	163	(2)
Notes and Queries	165	(2)
The Rediscovery of Buster Keaton	165	(1)
References	166	(1)
Further Reading	166	(1)
International Trends of the 1920s	167	(7)
``Film Europe''	167	(3)
Postwar Animosities Fade	167	(1)
Concrete Steps toward Cooperation	168	(1)
Success Cut Short	169	(1)
The ``International Style''	170	(3)
The Blending of Stylistic Traits	170	(1)
Carl Dreyer: European Director	171	(2)
Film Experiments outside the Mainstream Industry	173	(1)
Abstract Animation	173	(1)
BOX: THE SPREAD OF ``ART CINEMA'' INSTITUTIONS	174	(17)
Dada Filmmaking	177	(1)
Surrealism	178	(1)
Cinema Pur	179	(2)
Lyrical Documentaries: The City Symphony	181	(1)
Experimental Narrative	182	(2)
Documentary Features Gain Prominence	184	(2)
Commercial Filmmaking Internationally	186	(3)
Japan	186	(1)
Great Britain	187	(1)
Italy	187	(1)
Some Smaller Producing Countries	188	(1)
Notes and Queries	189	(2)
Different Versions of Silent Classics	189	(1)
References	190	(1)
Further Reading	190	(1)
Part Three THE DEVELOPMENT OF SOUND CINEMA. 1926-1945	191	(5)
The Introduction of Sound	193	(3)
Sound in the United States	194	(2)
Warner Bros. and Vitaphone	194	(1)
Sound-on Film is Adopted	194	(1)
Sound and Filmmaking	195	(1)
BOX: EARLY SOUND TECHNOLOGY AND THE CLASSICAL STYLE	196	(20)
Germany Challenges Hollywood	200	(4)
Dividing the International Pie	200	(1)
The Early Sound Era in Germany	201	(3)
The USSR Pursues Its Own Path to Sound	204	(2)
The International Adoption of Sound	206	(5)
France	201	(6)
Great Britain	207	(1)
Japan	208	(1)
Wiring the World's Theaters for Sound	209	(1)
Crossing the Language Barrier	210	(1)
Notes and Queries	211	(2)
Filmmakers on the Coming of Sound	211	(1)
Sound and the Revision of Film History	211	(1)
References	211	(1)
Further Reading	211	(2)
The Hollywood Studio System, 1930-1945	213	(3)
The New Structure of the Film Industry	214	(2)
The Big Five	214	(2)
The Little Three	216	(1)
BOX: THE HAYS CODE: SELF-CENSORSHIP IN HOLLYWOOD	216	(11)
The Independents	218	(1)
Exhibition Practice in the 1930s	218	(1)
Continued Innovation in Hollywood	219	(5)
Sound Recording	219	(1)
Camera Movement	220	(1)
Technicolor	220	(1)
Special Effects	221	(2)
Cinematography Styles	223	(1)
Major Directors	224	(3)
The Older Generation	224	(2)
New Directors	226	(1)
BOX: CITIZEN KANE AND THE MAGNIFICENT AMBERSONS	227	(22)
New Emigre Directors	228	(1)
Genre Innovations and Transformations	228	(7)
The Musical	228	(2)
The Screwball Comedy	230	(1)
The Horror Film	231	(1)
The Social Problem Film	232	(1)
The Gangster Film	233	(1)
Film Noir	233	(2)
The War Film	235	(1)
Animation and the Studio System	235	(2)
Notes and Queries	237	(2)
The Controversy over Orson Welles	237	(1)
References	238	(1)
Further Reading	238	(1)
Other Studio Systems	239	(10)
Quota Quickies and Wartime Pressures: The British Studios	239	(7)
The British Film Industry Grows	239	(2)
Export Successes	241	(1)
Alfred Hitchcock's Thrillers	242	(1)
Crisis and Recovery	242	(2)
The Effects of the War	244	(2)
Innovation within an Industry: The Studio System of Japan	246	(3)
Popular Cinema of the 1930s	246	(2)
The Pacific War	248	(1)
BOX: YASUJIRO OZU AND KENJI MIZOGUCHI IN THE 1930s	249	(14)
India: An Industry Built on Music	256	(1)
A Highly Fragmented Business	256	(1)
Mythologicals, Socials, and Devotionals	256	(1)
Independents Weaken the System	257	(1)
China: Filmmaking Caught between Left and Right	257	(2)
Notes and Queries	259	(2)
Japanese Cinema Rediscovered	259	(1)
References	260	(1)
Further Reading	260	(1)
Cinema and the State: The Ussr, Germany, and Italy, 1930-1945	261	(2)
The Soviet Union: Socialist Realism and World War II	261	(2)
Films of the Early 1930s	262	(1)
The Doctrine of Socialist Realism	262	(1)
SOCIALIST REALISM AND CHAPAYEV	263	(31)
The Main Genres of Socialist Realism	264	(4)
The Soviet Cinema in Wartime	268	(3)
The German Cinema under the Nazis	271	(5)
The Nazi Regime and the Film Industry	271	(1)
Films of the Nazi Era	272	(3)
The Aftermath of the Nazi Cinema	275	(1)
Italy: Propaganda versus Entertainment	276	(5)
Industry Tendencies	276	(1)
A Cinema of Distraction	277	(2)
A New Realism?	279	(2)
Notes and Queries	281	(2)
The Case of Leni Riefenstahl	281	(1)
References	281	(1)
Further Reading	282	(1)
France: Poetic Realism, the Popular Front, and the Occupation, 1930-1945	283	(11)
The Industry and Filmmaking during the 1930s	284	(5)
Production Problems and Artistic Freedom	284	(1)
Fantasy and Surrealism: Rene Clair, Pierre Prevert, and Jean Vigo	284	(2)
Quality Studio Filmmaking	286	(1)
Emigres in France	287	(1)
Everyday Realism	288	(1)
Poetic Realism	289	(4)
Doomed Lovers and Atmospheric Settings	289	(1)
The Creative Burst of Jean Renoir	290	(2)
Other Contributors	292	(1)
Brief Interlude: The Popular Front	293	(1)
BOX: POPULAR FRONT FILMMAKING: LA VIE EST A NOUS AND LA MARSEILLAISE	294	(17)
Filmmaking in Occupied and Vichy France	296	(5)
The Situation in the Film Industry	296	(2)
Films of the Occupation Period	298	(3)
Notes and Queries	301	(2)
Renewed Interest in the Popular Front	301	(1)
Reference	302	(1)
Further Reading	302	(1)
Leftist, Documentary, and Experimental Cinemas, 1930-1945	303	(8)
The Spread of Political Cinema	303	(6)
The United States	304	(1)
Germany	305	(1)
Belgium and the Netherlands	305	(1)
Great Britain	306	(1)
International Leftist Filmmaking in the Late 1930s	307	(2)
Government- and Corporate-Sponsored Documentaries	309	(2)
The United States	309	(1)
Great Britain	310	(1)
BOX: ROBERT FLAHERTY: MAN OF ARAN AND THE ``ROMANTIC DOCUMENTARY''	311	(12)
Wartime Documentaries	313	(4)
Hollywood Directors and the War	313	(1)
Great Britain	314	(2)
Germany and the USSR	316	(1)
The International Experimental Cinema	317	(6)
Experimental Narratives and Lyrical and Abstract Films	317	(1)
Surrealism	318	(1)
Animation	319	(3)
References	322	(1)
Further Reading	322	(1)
Part Four THE POSTWAR ERA: 1945-1960s	323	(7)
American Cinema in the Postwar Era, 1945-1960	325	(5)
1946-1948	326	(2)
The HUAC Hearings:. The Cold War Reaches Hollywood	326	(1)
The Paramount Decision	327	(1)
The Decline of the Hollywood Studio System	328	(2)
Changing Lifestyles and Competing Entertainment	328	(1)
Hollywood Adjusts to Television	329	(1)
BOX: SEE IT ON THE BIG SCREEN	330	(17)
Art Cinemas and Drive-ins	333	(1)
Challenges to Censorship	334	(1)
The New Power of the Individual Film and the Revival of the Roadshow	335	(1)
The Rise of the Independents	336	(3)
Mainstream Independents: Agents, Star Power, and the Package	336	(1)
Exploitation	337	(2)
Independents on the Fringe	339	(1)
Classical Hollywood Filmmaking: A Continuing Tradition	339	(5)
Complexity and Realism in Storytelling	339	(2)
Stylistic Changes	341	(1)
New Twists on Old Genres	341	(3)
Major Directors: Several Generations	344	(3)
Veterans of the Studio Era	344	(2)
Emigres Stay On	346	(1)
BOX: ALFRED HITCHCOCK	347	(13)
Welles's Struggle with Hollywood	348	(1)
The Impact of the Theater	348	(2)
New Directors	350	(1)
Notes and Queries	351	(2)
Widescreen Formats in Subsequent History	351	(1)
References	351	(1)
Further Reading	351	(2)
Postwar European Cinema: Neorealism and its Context, 1945-1959	353	(7)
The Postwar Context	353	(1)
Film Industries and Film Culture	354	(5)
West Germany: ``Papas Kino''	354	(1)
Resistance to U.S. Encroachment	355	(2)
Art Cinema: The Return of Modernism	357	(2)
Italy: Neorealism and After	359	(1)
Italian Spring	359	(1)
NEOREALISM AND AFTER: A CHRONOLOGY OF EVENTS AND SELECTED WORKS	360	(4)
Defining Neorealism	362	(2)
BOX: UMBERTO D: THE MAID WAKES UP	364	(1)
BOX: OPEN CITY: THE DEATH OF PINA	365	(2)
Beyond Neorealism	366	(1)
BOX: LUCHINO VISCONTI AND ROBERTO ROSSELLINI	367	(7)
A Spanish Neorealism?	369	(2)
Notes and Queries	371	(2)
Controversies around Neorealism	371	(1)
References	371	(1)
Further Reading	372	(1)
Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959	373	(1)
French Cinema of the Postwar Decade	373	(1)
The Industry Recovers	373	(1)
BOX: POSTWAR FRENCH FILM CULTURE	374	(10)
The Tradition of Quality	375	(2)
The Return of Older Directors	377	(4)
New Independent Directors	381	(2)
Scandinavian Revival	383	(1)
BOX: CARL THRODOR DREYER	384	(24)
England: Quality and Comedy	385	(4)
Problems in the Industry	385	(1)
Literary Heritage and Eccentricity	386	(3)
Art-House Success Abroad	389	(1)
Notes and Queries	389	(2)
Postwar French Film Theory	389	(1)
The Powell-Pressburger Revival	390	(1)
References	390	(1)
Further Reading	390	(1)
Postwar Cinema Beyond the West, 1945-1959	391	(17)
General Tendencies	391	(2)
Japan	393	(4)
Industry Recovery under the Occupation	393	(1)
The Veteran Directors	394	(2)
The War Generation	396	(1)
Postwar Cinema in the Soviet Sphere of Influence	397	(7)
The USSR: From High Stalinism to the Thaw	397	(2)
Postwar Cinema in Eastern Europe	399	(5)
People's Republic of China	404	(3)
Civil War and Revolution	404	(2)
Mixing Maoism and Tradition	406	(1)
India	407	(1)
A Disorganized but Prolific Industry	407	(1)
The Populist Tradition and Raj Kapoor	407	(1)
BOX: MUSIC AND POSTWAR INDIAN FILM	408	(36)
Swimming against the Stream: Guru Dutt and Ritwik Ghatak	409	(2)
Latin America	411	(2)
Argentina and Brazil	411	(1)
Mexican Popular Cinema	412	(1)
Notes and Queries	413	(2)
De-Stalinization and the Disappearing Act	413	(1)
References	414	(1)
Further Reading	414	(1)
Art Cinema and the Idea of Authorship	415	(24)
The Rise and Spread of the Auteur Theory	415	(1)
Authorship and the Growth of the Art Cinema	416	(1)
Luis Bunuel (1900-1983)	417	(2)
Ingmar Bergman (1918- )	419	(3)
Akira Kurosawa (1910-1998)	422	(3)
Federico Fellini (1920-1993)	425	(1)
Michelangelo Antonioni (1912- )	426	(2)
Robert Bresson (1907-1999)	428	(3)
Jacques Tati (1908-1982)	431	(2)
Satyajit Ray (1921-1992)	433	(3)
Notes and Queries	436	(3)
The Impact of Auteurism	436	(1)
Auteurism and the American Cinema	436	(1)
1950s and 1960s Modernist Cinema	437	(1)
References	438	(1)
Further Reading	438	(1)
New Waves and Young Cinemas, 1958-1967	439	(5)
The Industries New Needs	439	(1)
Formal and Stylistic Trends	440	(3)
France: New Wave and New Cinema	443	(1)
The New Wave	443	(1)
FRENCH NEW CINEMA AND THE NOUVELLE VAGUE: A CHRONOLOGY OF MAJOR RELEASES	444	(2)
BOX: FRANCOIS TRUFFAUT AND JEAN-LUC GODARD	446	(19)
New Cinema: The Left Bank	449	(2)
Italy: Young Cinema and Spaghetti Westerns	451	(3)
Great Britain: Kitchen Sink Cinema	454	(2)
Young German Film	456	(2)
New Cinema in the USSR and Eastern Europe	458	(7)
Young Cinema in the Soviet Union	458	(2)
New Waves in Eastern Europe	460	(5)
BOX: MIKLOS JANSCO	465	(19)
The Japanese New Wave	468	(3)
Brazil: Cinema Novo	471	(4)
Notes and Queries	475	(2)
Censorship and the French New Wave	475	(1)
New Film Theory	475	(1)
References	475	(1)
Further Reading	476	(1)
Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s	477	(7)
Toward the Personal Documentary	478	(5)
Innovative Trends	478	(2)
The National Film Board and Free Cinema	480	(1)
France: The Auteurs' Documentaries	481	(1)
Jean Rouch and Ethnographic Documentary	482	(1)
Direct Cinema	483	(1)
The United States: Drew and Associates	483	(1)
BOX: NEW TECHNOLOGY FOR THE NEW DOCUMENTARY	484	(6)
Direct Cinema in Bilingual Canada	486	(1)
France: Cinema Verite	487	(2)
Experimental and Avant-Garde Cinema	489	(1)
BOX: THE FIRST POSTWAR DECADE: MAYA DEREN	490	(9)
Abstraction, Collage, and Personal Expression	493	(6)
THE SECOND POSTWAR DECADE: STAN BRAKHAGE	499	(10)
Success and New Ambitions	500	(1)
Underground and Expanded Cinema	501	(6)
Notes and Queries	507	(2)
Writing the History of the Postwar Avant-Garde	507	(1)
References	508	(1)
Further Reading	508	(1)
Part Five THE CONTEMPORARY CINEMA SINCE THE 1960s	509	(7)
Hollywood's Fall and Rise: 1960-1980	511	(5)
The 1960s: The Film Industry in Recession	512	(4)
The Studios in Crisis	512	(1)
Styles and Genres	513	(1)
Modifying the Classical Studio Style	514	(1)
Identifying the Audience	515	(1)
BOX: NEW PRODUCTION AND EXHIBITION TECHNOLOGIES	516	(4)
The New Hollywood: Late 1960s to Late 1970s	516	(4)
Toward an American Art Cinema	517	(3)
BOX: PERSONAL CINEMA: ALTMAN AND ALLEN	520	(3)
Hollywood Strikes Gold	522	(1)
The Return of the Blockbuster	522	(1)
BOX: THE 1970S BIG THREE: COPPOLA, SPIELBERG, AND LUCAS	523	(19)
Hollywood Updated	526	(2)
Scorsese as Synthesis	528	(2)
Opportunities for Independents	530	(2)
Notes and Queries	532	(3)
The American Director as Superstar	532	(1)
Film Consciousness and Film Preservation	532	(1)
Exploitation Films and Connoisseurs of ``Weird Movies''	533	(1)
References	533	(1)
Further Reading	533	(2)
Politically Critical Cinema of the 1960s and 1970s	535	(7)
Political Filmmaking in the Third World	536	(6)
Revolutionary Aspirations	537	(1)
Political Genres and Style	538	(1)
Latin America	538	(4)
BOX: TWO REVOLUTIONARY FILM: MEMORIES OF UNDERDEVELOPMENT AND LUCIA	542	(16)
Black African Cinema	548	(3)
China: Cinema and the Great Proletarian Cultural Revolution	551	(2)
Political Filmmaking in the First and Second Worlds	553	(5)
Eastern Europe and the USSR	553	(3)
Political Cinema in the West	556	(2)
BOX: FILM ACTIVITIES DURING THE MAY EVENTS IN PARIS	558	(4)
Political Modernism	562	(1)
BOX: BRECHT AND POLITICAL MODERNISM	562	(19)
The Politicization of Mainstream Narrative and the Art Film	568	(4)
New Cinema in West Germany: The Political Wing	572	(4)
Notes and Queries	576	(3)
Defining Third World Revolutionary Cinema	576	(1)
Film Studies and the New Film Theory	577	(1)
References	577	(1)
Further Reading	578	(1)
Documentary and Experimental Film Since the Late 1960s	579	(2)
Documentary Cinema	579	(2)
Direct Cinema and Its Legacy	579	(2)
BOX: FREDRICK WISEMAN AND THE TRADITION OF DIRECT CINEMA	581	(14)
Synthesizing Documentary Techniques	553	(31)
The Questioning of Documentary Actuality	584	(2)
Documenting Upheavals and Injustice	586	(1)
The Theatrical Documentary in the Age of Television	587	(2)
From Structuralism to Pluralism in Avant-Garde Cinema	589	(6)
Structural Film	589	(5)
Reactions and Alternatives to Structural Film	594	(1)
BOX: INDEPENDENT ANIMATION OF THE 1970S AND 1980s	595	(13)
New Mergers	601	(1)
Notes and Queries	602	(3)
Rethinking Documentary	602	(1)
The Idea of Structure	603	(1)
The Avant-Garde and Postmodernism	603	(1)
References	604	(1)
Further Reading	604	(1)
New Cinemas and New Developments: Europe and the Ussr Since the 1970s	605	(3)
Western Europe	606	(2)
Crisis in the Industry	606	(2)
BOX: TELEVISION AND AARDMAN ANIMATION	608	(6)
The Art Cinema Revived: Toward Accessibility	609	(5)
BOX: DURAS, VON TROTTA, AND THE EUROPEAN ART CINEMA	614	(21)
The Arresting Image	618	(5)
Eastern Europe and the USSR	623	(8)
Eastern Europe: From Reform to Revolution	623	(4)
The USSR: The Final Thaw	627	(4)
Notes and Queries	631	(2)
The New German Cinema	631	(1)
References	632	(1)
Further Reading	632	(1)
Beyond the Industrialized West: Latin America, the Asia-Pacific Region, the Middle East, and Africa Since the 1970s	633	(2)
From Third World to Developing Nations	634	(1)
Latin America: Accessibility and Decline	635	(1)
BOX: LATIN AMERICAN LITERATURE AND CINEMA	635	(14)
Brazil	636	(1)
Argentina and Elsewhere	637	(1)
Mexico	638	(1)
Cuba and Other Left-Wing Cinemas	639	(1)
India: Mass Output and Art Cinema	640	(4)
A Parallel Cinema	641	(1)
Beyond a Parallel Cinema	642	(1)
Coproductions, ``International Directors,'' and a New Political Cinema	643	(1)
Japan	644	(4)
Independent Filmmaking: An Irreverent Generation	645	(1)
The 1990s: The Punctured Bubble and a New Surge of Talent	646	(2)
Mainland China: The Fifth Generation and Beyond	648	(1)
The Fifth Generation	648	(1)
CHRONOLOGY OF CHINA'S FIFTH GENERATION	649	(11)
The Sixth Generation and Illegal Films	650	(2)
New Cinemas in East Asia	652	(8)
The Philippines	653	(1)
Hong Kong	654	(5)
Taiwan	659	(1)
BOX: EDWARD YANG AND HOU HSIAO-HSIEN	660	(17)
South Korea	662	(1)
Australia and New Zealand	663	(3)
Australia	663	(2)
New Zealand	665	(1)
Filmmaking in the Middle East	666	(5)
Israel	667	(1)
Egypt	668	(1)
Turkey	668	(1)
Iraq and Iran	669	(2)
African Cinema	671	(4)
North Africa	671	(1)
Sub-Saharan Africa	672	(2)
The 1990s	674	(1)
Notes and Queries	675	(2)
Pinning the Tail on Pinochet	675	(1)
Storytelling in Third World Cinema	675	(1)
References	676	(1)
Further Reading	676	(1)
Part Six CINEMA IN THE AGE ELECTRONIC MEDIA	677	(11)
American Cinema and the Entertainment Economy: the 1980s and After	679	(9)
Hollywood, Cable Television, and Videotape	680	(1)
Concentration and Consolidation in the Film Industry	681	(6)
The Megapicture Mentality	683	(1)
The Bottom Line	684	(1)
Prime Packagers	685	(1)
New Revenue Streams	685	(1)
Megaplexing: The New Face of Exhibition	686	(1)
Artistic Trends	687	(1)
Form and Style	687	(1)
BOX: INTENSIFIED CONTINUITY: A STYLE FOR THE VIDEO AGE	688	(14)
Directors: Coming to Terms with Megapics	689	(3)
Genres	692	(2)
A New Age of Independent Cinema	694	(7)
Support Systems	695	(1)
The Arty Indies	696	(1)
Off Hollywood Indies	697	(3)
Retro-Hollywood Independents	700	(1)
Digital Cinema	701	(1)
A TIMELINE OF 3-D COMPUTER ANIMATION	702	(6)
Notes and Queries	703	(2)
Video Versions	703	(1)
George Lucas: Is Film Dead?	704	(1)
References	704	(1)
Further Reading	704	(1)
Toward a Global Film Culture	705	(3)
Hollyworld?	706	(2)
The Media Conglomerates	706	(1)
Cooperation and Cooptation	707	(1)
BOX: JURASSIC PARK, GLOBAL FILM	708	(5)
Battles over GATT	709	(1)
Multiplexing the Planet	709	(1)
Regional Alliances and the New International Film	710	(3)
Europe and Asia Try to Compete	710	(1)
Media Empires	711	(1)
Polygram: A European Major?	711	(1)
Global Films from Europe	711	(1)
East Asia: Regional Alliances and Global Efforts	712	(1)
BOX: BACK TO BASICS: DOGME 95	713	(4)
Diasporas and the Global Soul	715	(1)
The Festival Circuit	716	(1)
BOX: THE TORONTO INTERNATIONAL FILM FESTIVAL	717	(8)
Global Subcultures	718	(2)
Video Piracy: An Efficient Distribution System?	718	(1)
Fan Subcultures: Appropriating the Movies	718	(2)
Digital Convergence	720	(3)
The Internet as Movie Billboard	720	(1)
Digital Moviemaking from Script to Screen	721	(2)
Notes and Queries	723	(2)
Akira, Gundam, Sailor Moon, and their friends	723	(1)
Auteurs on the Web	723	(1)
References	723	(1)
Further Reading	723	(2)
Bibliography	725	(7)
Glossary	732	(7)
Index	739