Rent 9780070064461 | Film Art : An Introduction

Table of Contents

Preface
Film Production
The Work of Film Production	p. 3
Technical Factors in Film Production	p. 3
Social Factors in Film Production	p. 9
After Production: Distribution and Exhibition	p. 24
Implications of Different Modes of Film Production	p. 28
Notes and Queries	p. 31
Film Form
The Significance of Film F... MOREorm	p. 41
The Concept of Form in Film	p. 41
Principles of Film Form	p. 55
Summary	p. 60
Notes and Queries	p. 61
Narrative as a Formal System	p. 64
Principles of Narrative Construction	p. 64
Narration: The Flow of Story Information	p. 75
Narrative Conventions	p. 81
Narrative Form in Citizen Kane	p. 84
Summary	p. 97
Notes and Queries	p. 98
Nonnarrative Formal Systems	p. 102
Types of Nonnarrative Form	p. 102
Categorical Formal Systems	p. 104
Rhetorical Formal Systems	p. 112
Abstract Formal Systems	p. 119
Associational Formal Systems	p. 127
Summary	p. 139
Notes and Queries	p. 140
Film Style
The Shot: Mise-En-Scene	p. 145
What Is Mise-en-Scene?	p. 145
Realism	p. 146
The Power of Mise-en-Scene	p. 146
Aspects of Mise-en-Scene	p. 148
Mise-en-Scene in Space and Time	p. 163
Narrative Functions of Mise-en-Scene: Our Hospitality	p. 173
Summary	p. 179
Notes and Queries	p. 179
The Shot: Cinematographic Properties	p. 185
The Photographic Image	p. 185
Framing	p. 201
Duration of the Image: The Long Take	p. 234
Summary	p. 239
Notes and Queries	p. 239
The Relation of Shot to Shot: Editing	p. 246
What Editing Is	p. 247
Dimensions of Film Editing	p. 250
Continuity Editing	p. 261
Alternatives to Continuity Editing	p. 277
Summary	p. 287
Notes and Queries	p. 288
Sound in the Cinema	p. 292
The Powers of Sound	p. 292
Fundamentals of Film Sound	p. 295
Dimensions of Film Sound	p. 303
Functions of Film Sound: A Man Escaped	p. 318
Summary	p. 327
Notes and Queries	p. 327
Style as a Formal System: Summary	p. 333
The Concept of Style	p. 333
Analyzing Film Style	p. 335
Style in Citizen Kane	p. 338
Style in Olympia, Part 2	p. 345
Style in The River	p. 348
Style in Ballet mecanique	p. 351
Style in A Movie	p. 354
Notes and Queries	p. 357
Critical Analysis of Films
Film Criticism: Sample Analyses	p. 361
The Classical Narrative Cinema	p. 362
His Girl Friday	p. 362
Stagecoach	p. 366
North by Northwest	p. 370
Hannah and Her Sisters	p. 376
Desperately Seeking Susan	p. 381
Narrative Alternatives to Classical Filmmaking	p. 387
Day of Wrath	p. 387
Last Year at Marienbad	p. 391
Tokyo Story	p. 396
Innocence Unprotected	p. 401
Documentary Form and Style	p. 406
High School	p. 406
Man with a Movie Camera	p. 413
The Animated Film	p. 417
Clock Cleaners	p. 418
Duck Amuck	p. 420
Fuji	p. 422
Form, Style, and Ideology	p. 424
Meet Me in St. Louis	p. 424
Raging Bull	p. 430
Tout va bien	p. 436
Appendix: Writing a Critical Analysis of a Film	p. 442
Notes and Queries	p. 447
Film History
Film Form and Film History	p. 451
Introduction	p. 451
Early Cinema (1893-1903)	p. 452
The Development of the Classical Hollywood Cinema (1908-1927)	p. 455
German Expressionism (1919-1926)	p. 459
French Impressionism and Surrealism (1918-1930)	p. 462
Soviet Montage (1924-1930)	p. 466
Summary: International Stylistic Trends of the Late Silent Cinema	p. 469
The Classical Hollywood Cinema after the Coming of Sound	p. 471
Japanese Cinema of the 1930s	p. 474
Italian Neorealism (1942-1951)	p. 477
The New Wave (1959-1964)	p. 479
The New German Cinema (1966-1982)	p. 483
Bibliography for Chapter 11	p. 488
Glossary	p. 492
Alternative Films	p. 498
Credits	p. 500
Index	p. 501
Table of Contents provided by Blackwell. All Rights Reserved.

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