A History of Narrative Film

by Cook, David A.

• ISBN13: 9780393978681
• ISBN10: 0393978680
• Edition: 4th
• Format: Paperback
• Copyright: 2003-12-05
• Publisher: W. W. Norton & Company

Summary

The Fourth Edition adds an entire chapter on computer-generated imaging, updates filmographies for nearly all living directors mentioned in the text, and includes major new sections that both revisit old content and introduce contemporary trends and movements.

Table of Contents

Preface	xix
Preface to the Fourth Edition	xxi
Acknowledgments	xxiii
A Note on Method	xxv
A Note on Dates, Titles, and Stills	xxvii
1 Origins	1	(28)
Optical Principles	1	(2)
Series Photography	3	(2)
Motion Pictures	5	(4)
Projection: Europe and America	9	(4)
The Evolution of Narrative: Georges Méliès	13	(5)
Edwin S. Porter: Developing a Concept of Continuity Editing	18	(11)
2 International Expansion, 1907-1918	29	(22)
The United States	29	(12)
THE EARLY INDUSTRIAL PRODUCTION PROCESS	29	(2)
THE MOTION PICTURE PATENTS COMPANY	31	(2)
THE ADVENT OF THE FEATURE FILM	33	(3)
THE RISE OF THE STAR SYSTEM	36	(1)
THE MOVE TO HOLLYWOOD	37	(1)
THE NEW STUDIO CHIEFS AND INDUSTRY REALIGNMENT	38	(1)
THE "BLOCK BOOKING" DISPUTE AND THE ACQUISITION OF THEATERS	39	(2)
THE RISE OF HOLLYWOOD TO INTERNATIONAL DOMINANCE	41	(1)
Expansion on the Continent	41	(10)
THE EMPIRE OF PATHÉ FRÈRES	41	(2)
LOUIS FEUILLADE AND THE RISE OF GAUMONT	43	(3)
THE SOCIÉTÉ FILM D'ART	46	(2)
THE ITALIAN SUPERSPECTACLE	48	(3)
3 D.W. Griffith and the Development of Narrative Form	51	(36)
Formative Influences	52	(1)
The Beginning at Biograph	53	(1)
Innovation, 1908-1909: Interframe Narrative	53	(4)
Innovation, 1909-1911: Intraframe Narrative	57	(3)
Griffith's Drive for Increased Film Length	60	(2)
Judith of Bethulia and the Move to Mutual	62	(2)
The Birth of a Nation	64	(10)
PRODUCTION	64	(3)
STRUCTURE	67	(5)
IMPACT	72	(2)
Intolerance	74	(6)
PRODUCTION	74	(2)
STRUCTURE	76	(1)
INFLUENCE AND DEFECTS	77	(3)
Griffith after Intolerance	80	(2)
Decline	82	(2)
The Importance of Griffith	84	(3)
4 German Cinema of the Weimar Period, 1919-1929	87	(26)
The Prewar Period	87	(2)
The War Years and the Influence of Scandinavia	89	(1)
The Founding of UFA	90	(3)
Das Kabinett des Dr. Caligari	93	(3)
The Flowering of Expressionism	96	(9)
FRITZ LANG	97	(3)
F.W. MURNAV AND THE KAMMERSPIELFILM	100	(5)
The Parufamet Agreement and the Migration to Hollywood	105	(2)
G.W. Pabst and "Street" Realism	107	(3)
Down and Out	110	(3)
5 Soviet Silent Cinema and the Theory of Montage, 1917-1931	113	(56)
The Prerevolutionary Cinema	113	(2)
The Origins of Soviet Cinema	115	(1)
Dziga Vertov and the Kino-Eye	116	(2)
Lev Kuleshov and the Kuleshov Workshop	118	(4)
Sergei Eisenstein	122	(36)
THE FORMATIVE YEARS	122	(3)
FROM THEATER TO FILM	125	(2)
THE PRODUCTION OF BATTLESHIP POTEMKIN	127	(1)
THE STRUCTURE OF POTEMKIN	128	(20)
EISENSTEIN'S THEORY OF DIALECTICAL MONTAGE	148	(4)
OCTOBER (TEN DAYS THAT SHOOK THE WORLD, 1928): A LABORATORY FOR INTELLECTUAL MONTAGE	152	(3)
EISENSTEIN AFTER OCTOBER	155	(3)
Vsevolod Pudovkin	158	(4)
Alexander Dovzhenko	162	(3)
Other Soviet Filmmakers	165	(2)
Socialist Realism and the Decline of Soviet Cinema	167	(2)
6 Hollywood in the Twenties	169	(36)
Thomas Ince, Mack Sennett, and the Studio System of Production	171	(1)
Charlie Chaplin	172	(5)
Buster Keaton	177	(6)
Harold Lloyd and Others	183	(2)
Hollywood Scandals and the Creation of the MPPDA	185	(2)
Cecil B. DeMille	187	(1)
The "Continental Touch": Lubitsch and Others	188	(2)
In the American Grain	190	(3)
Erich von Strohelm	193	(12)
7 The Coming of Sound and Color, 1926-1935	205	(26)
Sound-on-Disc	205	(1)
Sound-on-Film	206	(2)
Vitaphone	208	(3)
Fox Movietone	211	(1)
The Process of Conversion	212	(2)
The Introduction of Color	214	(7)
Problems of Early Sound Recording	221	(3)
The Theoretical Debate over Sound	224	(3)
The Adjustment to Sound	227	(4)
8 The Sound Film and the American Studio System	231	(58)
New Genres and Old	231	(5)
Studio Politics and the Production Code	236	(3)
The Structure of the Studio System	239	(16)
MGM	240	(1)
PARAMOUNT	241	(2)
WARNER BROS.	243	(1)
20TH CENTURY-FOX	244	(1)
RKO	245	(2)
THE MINORS	247	(3)
"POVERTY ROW"	250	(1)
ETHNIC CINEMA	251	(4)
Major Figures of the Studio Era	255	(34)
JOSEF VON STERNBERG	255	(4)
JOHN FORD	259	(6)
HOWARD HAWKS	265	(3)
ALFRED HITCHCOCK	268	(16)
GEORGE CUKOR, WILLIAM WYLER, AND FRANK CAPRA	284	(5)
9 Europe in the Thirties	289	(38)
The International Diffusion of Sound	289	(1)
Britain	290	(1)
Germany	291	(4)
Italy	295	(1)
The Soviet Union	296	(7)
France	303	(25)
AVANT-GARDE IMPRESSIONISM, 1921-1929	303	(5)
THE "SECOND" AVANT-GARDE	308	(5)
SOUND, 1929-1934	313	(2)
POETIC REALISM, 1934-1940	315	(3)
JEAN RENOIR	318	(9)
10 Orson Welles and the Modern Sound Film	327	(28)
Citizen Kane	328	(16)
PRODUCTION	328	(4)
STRUCTURE	332	(10)
INFLUENCE	342	(2)
Welles after Kane	344	(11)
11 Wartime and Postwar Cinema: Italy and the United States, 1940-1951	355	(32)
The Effects of War	355	(1)
Italy	356	(12)
THE ITALIAN CINEMA BEFORE NEOREALISM	356	(2)
THE FOUNDATIONS OF NEOREALISM	358	(2)
NEOREALISM: MAJOR FIGURES AND FILMS	360	(7)
THE DECLINE OF NEOREALISM	367	(1)
THE IMPACT OF NEOREALISM	367	(1)
The United States	368	(6)
HOLLYWOOD AT WAR	368	(4)
THE POSTWAR BOOM	372	(2)
Postwar Genres in the United States	374	(13)
"SOCIAL CONSCIOUSNESS" FILMS AND SEMIDOCUMENTARY MELODRAMAS	374	(2)
FILM NOIR	376	(4)
THE WITCH-HUNT AND THE BLACKLIST	380	(4)
THE ARRIVAL OF TELEVISION	384	(3)
12 Hollywood, 1952-1965	387	(44)
The Conversion to Color	387	(2)
Widescreen and 3-D	389	(17)
MULTIPLE-CAMERA/PROJECTOR WIDESCREEN: CINERAMA	389	(1)
DEPTH: STEREOSCOPIC 3-D	390	(2)
THE ANAMORPHIC WIDESCREEN PROCESSES	392	(3)
THE NONANAMORPHIC, OR WIDE-FILM, WIDESCREEN PROCESSES	395	(2)
ADJUSTING TO WIDESCREEN	397	(2)
THE WIDESCREEN "BLOCKBUSTER"	399	(2)
AMERICAN DIRECTORS IN THE EARLY WIDESCREEN AGE	401	(5)
1950's Genres	406	(19)
THE MUSICAL	406	(1)
COMEDY	407	(4)
THE WESTERN	411	(1)
THE GANGSTER FILM AND THE ANTICOMMUNIST FILM	412	(3)
SCIENCE FICTION	415	(9)
THE "SMALL FILM": AMERICAN KAMMERSPIEL	424	(1)
Independent Production and the Decline of the Studio System	425	(3)
The Scrapping of the Production Code	428	(3)
13 The French New Wave and Its Native Context	431	(50)
The Occupation and Postwar Cinema	431	(7)
ROBERT BRESSON AND JACQUES TATI	434	(2)
MAX OPHULS	436	(2)
Influence of the Fifties Documentary Movement and Independent Production	438	(3)
Theory: Astruc, Bazin, and Cahiers du Cinéma	441	(2)
The New Wave: First Films	443	(2)
The New Wave: Origins of Style	445	(1)
Major New Wave Figures	446	(19)
FRANÇOIS TRUFFAUT	447	(3)
JEAN-LUC GODARD	450	(6)
ALAIN RESNAIS	456	(2)
CLAUDE CHABROL	458	(2)
LOUIS MALLE	460	(2)
ERIC ROHMER AND JACQUES RIVETTE	462	(2)
AGNES VARDA, JACQUES DEMP, AND OTHERS	464	(1)
After the Wave	465	(8)
French Cinema in the 1980's and 1990's	473	(5)
The Significance of the New Wave	478	(3)
14 New Cinemas in Britain and the English-Speaking Commonwealth	481	(50)
Great Britain	481	(27)
POSTWAR BRITISH CINEMA AND ITS CONTEXT	481	(4)
THE FREE CINEMA MOVEMENT	485	(1)
BRITISH "NEW CINEMA," OR SOCIAL REALISM	486	(6)
THE END OF SOCIAL REALISM AND BEYOND	492	(16)
Australia and New Zealand	508	(14)
AUSTRALIA	508	(10)
NEW ZEALAND	518	(4)
Canada	522	(9)
15 European Renaissance: West	531	(74)
The Second Italian Film Renaissance	531	(24)
FEDERICO FELLINI	531	(4)
MICHELANGELO ANTONIONI	535	(4)
OLMI, PASOLINI, AND BERTOLUCCI	539	(4)
OTHER ITALIAN AUTEURS	543	(7)
THE ITALIAN EXPLOITATION FILM	550	(5)
Contemporary Widescreen Technologies and Styles	555	(4)
Scandinavian or Nordic Cinema	559	(13)
INGMAR BERGMAN	559	(6)
SWEDEN	565	(2)
FINLAND	567	(1)
DENMARK AND DOGME95	568	(2)
NORWAY AND ICELAND	570	(2)
Spain	572	(10)
LUIS BUÑUEL	572	(6)
NEW SPANISH CINEMA	578	(4)
Germany: Das Neue Kino	582	(6)
POSTWAR ORIGINS	582	(1)
YOUNG GERMAN CINEMA	583	(1)
THE NEW GERMAN CINEMA	584	(1)
VOLKER SCHLONDORFF, ALEXANDER KLUGE, AND MARGARETHE VON TROTTA	585	(3)
International Stature: Fassbinder, Herzog, Wenders, and Others	588	(18)
RAINER WERNER FASSBINDER	588	(3)
WERNER HERZOG	591	(4)
WIM WENDERS	595	(2)
HANS JÚRGEN SYBERBERG AND OTHERS	597	(2)
JEAN-MARIE STRAUB AND MARXIST AESTHETICS	599	(6)
16 European Renaissance: East	605	(84)
Poland	606	(15)
THE POLISH SCHOOL	606	(6)
THE SECOND GENERATION	612	(3)
THE THIRD POLISH CINEMA	615	(2)
SOLIDARITY AND THE POLISH CINEMA	617	(4)
Former Czechoslovakia	621	(15)
THE POSTWAR PERIOD	621	(3)
THE CZECH NEW WAVE	624	(9)
"BANNED FOREVER"	633	(3)
Hungary	636	(20)
THREE REVOLUTIONS	636	(1)
ANDRAS KOVACS	637	(1)
MIKLÓS JANCSÓ	638	(3)
GAÁL, SZABÓ, AND MÉSZÁROS	641	(4)
OTHER HUNGARIAN DIRECTORS	645	(11)
Former Yugoslavia	656	(13)
PARTISAN CINEMA AND NATIONALIST REALISM	656	(2)
NOVI FILM	658	(4)
THE "PRAGUE GROUP"	662	(7)
Bulgaria	669	(10)
Romania	679	(5)
Other Balkan Countries	684	(5)
17 The Former Soviet Union, 1945-Present	689	(42)
Stalinist Cinema	690	(1)
Cinema during the Khrushchev Thaw	691	(2)
Sergei Parajanov and Shadows of Forgotten Ancestors	693	(3)
Cinema under Brezhnev	696	(3)
Cinema of the Non-Russian Republics	699	(1)
Baltic Cinema	700	(3)
LITHUANIA	700	(1)
LATVIA	701	(1)
ESTONIA	702	(1)
MOLDAVIA (MOLDOVA)	702	(1)
Transcaucasian Cinema	703	(8)
GEORGIA	703	(4)
ARMENIA	707	(3)
AZERBAIJAN	710	(1)
Central Asian Cinema	711	(9)
UZBEKISTAN	711	(3)
KAZAKHSTAN	714	(2)
KIRGHIZIA (KYRGYZSTAN)	716	(2)
TADJIKISTAN	718	(1)
TURKMENISTAN	719	(1)
Soviet Russian Cinema	720	(4)
Glasnost, Perestroika, and the Collapse of the Soviet Union	724	(7)
18 Wind from the East: Japan, India, and China	731	(64)
Japan	731	(37)
THE EARLY YEARS	731	(2)
SOUND	733	(1)
WAR	734	(1)
OCCUPATION	735	(1)
RASHOMON, KUROSAWA, AND THE POSTWAR RENAISSANCE	736	(7)
KENJI MIZOGUCHI	743	(2)
YASUJIRO OZU	745	(2)
OFFSCREEN SPACE	747	(2)
THE SECOND POSTWAR GENERATION	749	(3)
THE JAPANESE NEW WAVE	752	(6)
JAPANESE FILMMAKING AFTER THE NEW WAVE	758	(6)
DECLINE OF THE STUDIOS	764	(4)
India	768	(9)
SATYAJIT RAY	771	(1)
PARALLEL CINEMA	772	(1)
REGIONAL CINEMAS	773	(4)
China	777	(19)
THE PEOPLE'S REPUBLIC OF CHINA	777	(5)
HONG KONG	782	(9)
TAIWAN (REPUBLIC OF CHINA)	791	(4)
19 Third World Cinema	795	(50)
Latin America	796	(23)
MEXICO	798	(3)
BRAZIL	801	(4)
ARGENTINA	805	(3)
BOLIVIA, PERU, AND CHILE	808	(4)
VENEZUELA, COLOMBIA, AND CENTRAL AMERICA	812	(2)
CUBA AND THE NEW LATIN AMERICAN CINEMA	814	(5)
Africa	819	(8)
NORTH AFRICA	819	(3)
SUB-SAHARAN AFRICA	822	(5)
The Middle East	827	(9)
IRAN	827	(6)
ISRAEL	833	(3)
The Pacific Rim	836	(9)
20 Hollywood, 1965-1995	845	(36)
The New American Cinema	848	(9)
THE IMPACT OF BONNIE AND CLYDE	848	(2)
2001: A SPACE ODYSSEY	850	(2)
THE WILD BUNCH: "ZAPPING THE CONG"	852	(1)
END OF A DREAM	853	(4)
Hollywood in the Seventies and Eighties	857	(26)
INFLATION AND CONGLOMERATION	857	(4)
NEW FILMMAKERS OF THE SEVENTIES AND EIGHTIES	861	(7)
THE AMERICAN FILM INDUSTRY IN THE AGE OF "KIDPIX"	868	(3)
THE EFFECTS OF VIDEO	871	(10)
21 Hollywood Enters the Digital Domain	881	(48)
Origins of Computer Animation, 1962-1988
Industrial Light & Magic	883	(12)
FROM THE ABYSS TO DEATH BECOMES HER	886	(3)
THE IMPACT OF JURASSIC PARK, 1993-1996	889	(5)
DIGITAL DOMAIN AND TITANIC	894	(1)
Particle Animation, 1996-1997: Twister, Independence Day, and Starchip Troopers	895	(4)
A New "New Hollywood," 1997-1998	899	(6)
The Digital Manipulation of Color: What Dreams May Come, Pleasantville, and Beyond	905	(4)
A New Aesthetic for a New Century	909	(9)
MARTIAN CHRONICLES	909	(2)
BREAD AND CIRCUSES	911	(3)
MILLENNIAL VISIONS	914	(4)
The State of the Art, circa 2002: Moulin Rouge and The Lord of the Rings: The Fellowship of the Ring	918	(3)
Digital Technology and the Future of Cinema: Three Pearl Harbors, 1953-2001	921	(8)
Glossary	929	(14)
Selective Bibliography, David A. Cook and Aubry D'Arminio	943	(112)
Index	1055