Efnisyfirlit

• About this Book
  • Cover Page
  • Inside Front Cover
  • Title Page
  • Copyright Page
  • Dedication
  • About the Authors
  • Preface
  • Brief Contents
  • Contents
  • Halftitle Page
• Part 1 Cultural Contexts: Watching, Studying, and Making Movies
  • 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
    • Marketing and Promotion: What We Want to See
      • Film in Focus: Distributing Killer of Sheep (1977)
      • Generating Interest
      • Advertising
      • Technology in Action: The Changing Technologies of Film Promotion
      • 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 1 Review
      • Summary
      • Key Terms
  • Chapter 2 History and Historiography: Hollywood and Beyond
    • Silent Cinema (1895–1929)
      • Silent Features in Hollywood
      • German Expressionist Cinema
      • Soviet Silent Films
      • French Cinema
      • History Close Up: Oscar Micheaux
    • Classical Cinema (1929–1945)
      • European Cinema in the 1930s and 1940s
      • Golden Age Mexican Cinema
    • Postwar Cinemas (1945–1975)
      • Postwar Hollywood
      • International Art Cinema
      • Viewing Cue: Gilda (1946) and Rome, Open City (1945)
      • Film in Focus: Mother India and Postwar History (1957)
    • Cinematic Globalization (1975–2000)
      • New Hollywood in the Blockbuster Era
      • The Commercial Auteur
      • American Independent Cinema
      • From National to Transnational Cinema in Europe
      • African Cinema
      • Chinese Cinema
      • Iranian Cinema
    • Cinema in the Digital Era (2000–present)
      • Global Hollywood
      • Diversifying Screens
      • Viewing Cue: Beyond the Lights (2014)
      • Film Culture in the Twenty-First Century
      • Technology in Action: Film Preservation and Archives
      • Film in Focus: Rediscovering Within Our Gates (1920)
    • Chapter 2 Review
      • Summary
      • Key Terms
• 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
      • Scenic Realism and Atmosphere
      • Viewing Cue: Life of Pi (2012)
      • Props, Costumes, and Lights
      • Viewing Cue: Boyhood (2014)
      • Performance: Actors and Stars
      • Film in Focus: Mise-en-Scène in Do the Right Thing (1989)
      • Technology in Action: Scenic Lighting
      • Space and Design
    • Thinking about Mise-en-Scène
      • Mise-en-Scène as an External Condition or a Measure of Character
      • Primary Traditions for Mise-en-Scène
      • Film in Focus: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)
    • Chapter 3 Review
      • Summary
      • Key Terms
  • 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 Era
    • The Elements of Cinematography
      • Point of View
      • Four Attributes of the Shot
      • Viewing Cue: Touch of Evil (1958)
      • Depth of Field
      • Technology in Action: Color in Film
      • Viewing Cue: Roma (2018)
      • Viewing Cue: Fish Tank (2009)
      • Viewing Cue: Barry Lyndon (1975)
      • From Special Effects to Visual Effects
    • Thinking about Cinematography
      • The Image as Presentation and Representation
      • Viewing Cue: Vertigo (1958)
      • Traditions of Images
      • Film in Focus: Recreating History in Once Upon a Time … in Hollywood (2019)
    • Chapter 4 Review
      • Summary
      • Key Terms
  • Chapter 5 Editing: Relating Images
    • A Short History of Film Editing
      • 1895–1918: Early Cinema and the Emergence of Editing
      • 1919–1929: Soviet Montage
      • History Close Up: Women in the Editing Room
      • 1930–1959: Continuity Editing in the Hollywood Studio Era
      • 1960–1989: Modern Editing Styles
      • 1990s–Present: Editing in the Digital Age
    • The Elements of Editing
      • The Cut and Other Transitions
      • Viewing Cue: Chinatown (1974)
      • Continuity Style
      • Viewing Cue: Tangerine (2015)
      • Editing and Temporality
      • Viewing Cue: The General (1927)
      • Technology in Action: Editing, Then and Now
    • Thinking about Film Editing
      • Film in Focus: Patterns of Editing in Bonnie and Clyde (1967)
      • Editing as a Subjective Experience or as an Objective Perspective
      • Primary Traditions in Editing Practices: Continuity, Disjunctions, and Convergences
      • Converging Editing Styles
    • Chapter 5 Review
      • Summary
      • Key Terms
  • Chapter 6 Film Sound: Listening to the Cinema
    • A Short History of Film Sound
      • 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–1980s: From Stereophonic to Dolby Sound
      • 1990s–Present: Sound in the Digital Era
    • The Elements of Film Sound
      • Sound and Image
      • Technology in Action: Sound and Image
      • Viewing Cue: Guardians of the Galaxy (2014)
      • Film in Focus: Sound and Image in Singin’ in the Rain (1952)
      • Sound Production
      • Voice in Film
      • Music in Film
      • Sound Effects in Film
      • Viewing Cue: The Thin Red Line (1998)
    • Thinking about Film Sound
      • Sound Continuity and Sound Montage
      • Viewing Cue: Winter’s Bone (2010)
      • Authenticity and Attention
      • Film in Focus: The Sound of Silence in A Quiet Place (2018)
    • Chapter 6 Review
      • Summary
      • Key Terms
• 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: The Coming of Sound and Classical Hollywood Narrative
      • 1950–1980: Art Cinema
      • 1980s–Present: Franchises, Narrative Reflexivity, and Games
      • History Close Up: Salt of the Earth (1954)
    • The Elements of Narrative Film
      • Stories and Plots
      • Characters
      • Diegetic and Nondiegetic Elements
      • Narrative Patterns of Time
      • Viewing Cue: Shutter Island (2010)
      • Narrative Space
      • Narrative Perspectives
      • Viewing Cue: The Royal Tenenbaums (2001)
      • Technology in Action: Immersive Film Narrative
      • Film in Focus: Narration and Gender in Gone Girl (2014)
    • Thinking about 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)
    • Chapter 7 Review
      • Summary
      • Key Terms
  • 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
      • Viewing Cue: The Cove (2009)
      • Film in Focus: Nonfiction and Non-Narrative in Stories We Tell (2013)
      • Rhetorical Positions
      • Viewing Cue: He Named Me Malala (2015)
    • Thinking about Documentary Films
      • Confronting Assumptions
      • Altering Opinions
      • Interpretive Contexts and Traditions
      • History Close Up: Indigenous Media
      • Technology in Action: Documentary Sound
    • Chapter 8 Review
      • Summary
      • Key Terms
  • Chapter 9 Animation and Experimental Media: Challenging Form
    • A Short History of Animation and Experimental Media
      • 1910s–1920s: Early Avant-Garde Movements
      • 1930s–1940s: Sound and Vision
      • Film in Focus: Avant-Garde Visions in Meshes in the Afternoon (1943)
      • 1950s–1960s: International Animation and the Postwar American Avant-Garde
      • History Close Up: Floyd Norman
      • 1968–1980: Beyond North America
      • 1989–Present: New Technologies and New Media
    • Principles of Experimental Media and Animation
      • Abstraction and Figuration
      • Experimental Organizations: Associative, Structural, and Participatory
      • Animation Modes: 2-D, 3-D, Stop-Motion
      • Technology in Action: Animation through the Decades
    • Thinking about Experimental Media and Animation
      • Expanding Perception
      • Experimental Film Styles and Approaches
      • Viewing Cue: Gently Down the Stream (1981)
      • Viewing Cue: The Future (2011)
      • Film in Focus: Webs of Style in Spider-Man: Into the Spider-Verse (2018)
    • Chapter 9 Review
      • Summary
      • Key Terms
  • Chapter 10 Movie Genres: Conventions, Formulas, and Audience Expectations
    • A Short History of Film Genre
      • Historical Origins of Genres
      • 1890s–1910s: 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
      • Technology in Action: Special Effects and Iconography in Science Fiction
      • Formulas and Myths
      • Audience Expectations
    • Six Movie Genres
      • Comedies
      • Westerns
      • Melodramas
      • Viewing Cue: The Searchers (1956)
      • Musicals
      • Viewing Cue: La La Land (2016)
      • Horror Films
      • Film in Focus: Genre and Gender in Jennifer’s Body (2009)
      • Crime Films
    • Thinking about Film Genre
      • Prescriptive and Descriptive Approaches
      • Classical and Revisionist Traditions
      • Viewing Cue: Unforgiven (1992)
      • History Close Up: John Waters and Midnight Movies
      • Local and Global Genres
    • Chapter 10 Review
      • Summary
      • Key Terms
• 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
      • Theories of Gender and Sexuality
      • Cultural Studies
      • Film in Focus: Clueless about Contemporary Film Theory? (1995)
      • Film and Philosophy
      • Postmodernism
      • Film Theory and Digital Culture
    • Chapter 11 Review
      • Summary
      • Key Terms
  • Chapter 12 Writing a Film Essay: Observations, Arguments, Research, and Analysis
    • Writing an Analytical Film Essay
      • Personal Opinion and Objectivity
      • Identifying Your Readers
      • Viewing Cue: Birdman (2014)
      • 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
      • Primary Research
      • Secondary Research
      • Film in Focus: Interpretation, Argument, and Evidence in Rashomon (1950)
      • Using and Documenting Sources
      • Technology in Action: Creating a Video Essay
      • Film in Focus: From Research to Writing about The Cabinet of Dr. Caligari (1920)
    • Chapter 12 Review
      • Summary
      • Key Terms
• Glossary
• Index
• The Next Level: Additional Sources
• Get the full film experience with videos in LaunchPad
• Inside Back Cover
• Back Cover

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