Preface | p. xi |
Acknowledgments | p. xii |
Photography | p. 1 |
Overview | p. 2 |
Realism and Formalism | p. 2 |
The Shots | p. 11 |
The Angles | p. 13 |
Light and Dark | p. 18 |
Color | p. 22 |
Lenses, Filters, Stocks, Opticals, and Gauges | p. 28 |
The Cinematographer | p. 36 |
Further Reading | p. 42 |
Mise en Scene | p. 43 |
Overview | p. 44 |
The Frame | p. 44 |
Composition and Design | p. 56 |
Territorial Space | p. 66 |
Proxemic Patterns | p. 77 |
Open and Closed Forms | p. 83 |
Further Reading | p. 92 |
Movement | p. 93 |
Overview | p. 94 |
Kinetics | p. 95 |
The Moving Camera | p. 112 |
Mechanical Distortions of Movement | p. 123 |
Further Reading | p. 132 |
Editing | p. 133 |
Overview | p. 134 |
Continuity | p. 134 |
D. W. Griffith and Classical Cutting | p. 138 |
Soviet Montage and the Formalist Tradition | p. 155 |
Andre Bazin and the Tradition of Realism | p. 168 |
Hitchcock's North by Northwest: Storyboard Version | p. 181 |
Further Reading | p. 206 |
Sound | p. 207 |
Overview | p. 208 |
Historical Background | p. 208 |
Sound Effects | p. 215 |
Music | p. 219 |
Musicals and Opera | p. 226 |
Spoken Language | p. 230 |
Further Reading | p. 244 |
Acting | p. 245 |
Overview | p. 246 |
Stage and Screen Acting | p. 247 |
The American Star System | p. 259 |
Styles of Acting | p. 276 |
Casting | p. 287 |
Further Reading | p. 293 |
Drama | p. 295 |
Overview | p. 296 |
Time, Space, and Language | p. 296 |
The Director | p. 305 |
Settings and Decor | p. 311 |
Costumes and Makeup | p. 324 |
Further Reading | p. 332 |
Story | p. 333 |
Overview | p. 334 |
Narratology | p. 336 |
The Spectator | p. 339 |
The Classical Paradigm | p. 343 |
Realistic Narratives | p. 348 |
Formalistic Narratives | p. 352 |
Nonfictional Narratives | p. 356 |
Genre and Myth | p. 362 |
Further Reading | p. 372 |
Writing | p. 373 |
Overview | p. 374 |
The Screenwriter | p. 374 |
The Screenplay | p. 383 |
North by Northwest: Reading Version | p. 387 |
Figurative Comparisons | p. 393 |
Point of View | p. 401 |
Literary Adaptations | p. 405 |
Further Reading | p. 409 |
Ideology | p. 411 |
Overview | p. 412 |
The Left-Center-Right Model | p. 417 |
Culture, Religion, and Ethnicity | p. 427 |
Feminism | p. 437 |
Gay Liberation | p. 444 |
Tone | p. 450 |
Further Reading | p. 453 |
Theory | p. 455 |
Overview | p. 456 |
Theories of Realism | p. 457 |
Formalist Film Theories | p. 464 |
The Auteur Theory | p. 470 |
Eclectic and Synthetic Theories | p. 477 |
Structuralism and Semiology | p. 480 |
Historiography | p. 487 |
Further Reading | p. 492 |
Synthesis: Citizen Kane | p. 493 |
Photography | p. 495 |
Mise en Scene | p. 499 |
Movement | p. 501 |
Editing | p. 505 |
Sound | p. 507 |
Acting | p. 509 |
Drama | p. 511 |
Story | p. 516 |
Writing | p. 518 |
Ideology | p. 522 |
Theory | p. 524 |
Further Reading | p. 529 |
Glossary | p. 531 |
Index | p. 545 |
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