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The Film Experience

ISBN 13:
9781319059514
ISBN 10:
1319059511
Edition: 5th
Format: Paperback
Copyright: 11/10/2017
Publisher: Bedford/St. Martin's

Note: Not guaranteed to come with supplemental materials (access cards, study guides, lab manuals, CDs, etc.)

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Summary

Enjoy a more poignant film experience by diving into the details which built modern-day cinema as Film Experience combines, technology, business, the visual language of film, and its history into a single, cohesive presentation of this ever-evolving medium.

PART 1

CULTURAL CONTEXTS:

watching, studying, and making movies

introduction Studying Film: Culture and Experience

Why Film Studies Matters

Film Spectators and Film Cultures

FORM IN ACTION: Identification, Cognition, and Film Variety

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

Film in Focus: Distributing Killer of Sheep (1977)

Marketing and Promotion: What We Want to See

Generating Interest

Advertising

Form in Action: The Changing Art and Business of the Film Trailer

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 2 History and Historiography: Hollywood and Beyond

Silent Cinema 355

Early Hollywood Features

German Expressionist Cinema

Soviet Silent Films

French Cinema

HISTORY CLOSE-UP: Oscar Micheaux

The Sound Era

Classical Hollywood Cinema

European Cinema in the 1930s and 1940s

Golden Age Mexican Cinema

Postwar Cinemas (1945-1975)

Postwar Hollywood

Italian Neorealism

viewing cue: Gilda (1946) and Rome, Open City (1945)

French New Wave

Japanese Cinema

Third Cinema

Global Cinema Cultures (1975-2000)

Contemporary Hollywood

film in focus: Taxi Driver and New Hollywood (1976)

Independent Cinema

Contemporary European Cinema

Indian Cinema

African Cinema

Digital Cinema (2000-present)

Hollywood in the 21st Century

Chinese Cinema

Iranian Cinema

FILM IN FOCUS: Lost and Found History: Within Our Gates (1920)

Film Preservation and Archives

Orphan Films

Concepts at Work

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

viewing cue: Life of Pi (2012)

Scenic Realism and Atmosphere

Props, Costumes, and Lights

FILM IN FOCUS: Mise-en-Scène in Do the Right Thing (1989)

viewing cue: Boyhood (2014)

Performance: Actors and Stars

FORM IN ACTION: Mise-en-Scène in Hugo (2011)

Making Sense of Mise-en-Scène

Defining Our Place in a Film’s Material World

Interpretive Contexts for Mise-en-Scène

FILM IN FOCUS: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)

Spectacularizing the Movies

Concepts at Work

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 Future

The Elements of Cinematography

Points of View

Four Attributes of the Shot

viewing cue: Touch of Evil (1958)

FORM IN ACTION: Color and Contrast in Film

viewing cue: Rear Window (1954)

viewing cue: The Battle of Algiers (1967)

Animation and Visual Effects : The Impact of Computer-Based Imaging

HISTORY CLOSE-UP: Floyd Norman

Making Sense of the Film Image

Defining Our Relationship to the Cinematic Image

Interpretive Contexts for the Cinematic Image

viewing cue: Vertigo (1958)

FILM IN FOCUS: From Angles to Animation in Vertigo (1958)

Concepts at Work

chapter 5 Editing: Relating Images

A Short History of Film Editing

1895–1918: Early Cinema and the Emergence of Editing

1919–1929: Soviet Montage

1930–1959: Continuity Editing in the Hollywood Studio Era

1960–1989: Modern Editing Styles

HISTORY CLOSE-UP: Women in the Editing Room

1990s–Present: Editing in the Digital Age

The Elements of Editing

The Cut and Other Transitions

viewing cue: Chinatown (1974)

Continuity Style

Editing and Temporality

viewing cue: The General (1927)

FORM IN ACTION: Editing and Rhythm in Moulin Rouge! (2001) 160

Making Sense of Film Editing 161

FILM IN FOCUS: Patterns of Editing in Bonnie and Clyde (1967) 162

Disjunctive Editing

Converging Editing Styles

Concepts at Work

chapter 6 Film Sound: Listening to the Cinema

A Short History of Film Sound

Theatrical and Technological 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–Present: From Stereophonic to Digital Sound

The Elements of Film Sound

Sound and Image

VIEWING CUE: Guardians of the Galaxy (2014)

Sound Production

Film in focus: Sound and Image in Singin’ in the Rain (1952)

Voice in Film

Music in Film

FORM IN ACTION: Pop Music Soundtracks in Contemporary Cinema

Sound Effects in Film

viewing cue: Winter’s Bone (2010)

viewing cue: The Thin Red Line (1998)

Making Sense of Film Sound

Authenticity and Experience

Sound Continuity and Sound Montage

FILM IN FOCUS: The Role of Sound and Sound Technology in The Conversation (1974)

Concepts at Work

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: Sound Technology, Dialogue, and Classical Hollywood Narrative

1950–1980: Art Cinema

1980s–Present: From Narrative Reflexivity to Games

HISTORY CLOSE UP: Salt of the Earth

The Elements of Narrative Film

Stories and Plots

Characters

Diegetic and Nondiegetic Elements

Narrative Patterns of Time

FORM IN ACTION: Nondiegetic Images and Narrative

viewing cue: Shutter Island (2010)

Narrative Space

Narrative Perspectives

viewing cue: The Royal Tenenbaums (2001)

FILM IN FOCUS: Plot and Narration

Making Sense of 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)

Concepts at Work

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

FILM IN FOCUS: Nonfiction and Non-Narrative in Man of Aran (1934)

viewing cue: The Cove (2009)

Rhetorical Positions

viewing cue: He Named Me Malala (2015)

Making Sense of Documentary Films

Revealing New or Ignored Realities

Confronting Assumptions, Altering Opinions

Serving as a Social, Cultural, and Personal Lens

FILM IN FOCUS: Stories We Tell (2012)

HISTORY CLOSE-UP: Indigenous Media

FORM IN ACTION: The Contemporary Documentary: What Happened, Miss Simone? (2016)

Concepts at Work

chapter 9 Experimental Film and New Media: Challenging Form A Short History of Experimental Film and Media Practices

1910s–1920s: European Avant-Garde Movements

1930s–1940s: Sound and Vision

1950s–1960s: The Postwar Avant-Garde in America

FILM IN FOCUS: Avant-Garde Visions in Meshes of the Afternoon (1943)

1968–1980: Politics and Experimental Cinema

1980s–Present: New Technologies and New Media

Formalist Strategies

Abstraction

Narrative Experimentation

Experimental Organizations: Associative, Structural, and Participatory

FILM IN FOCUS: Formal Play in Ballet mecnanique (1924)

Making Sense of Experimental Media

Challenging and Expanding Perception

Experimental Film Styles and Approaches

viewing cue: Gently Down the Stream (1964)

FORM IN ACTION: Lyrical Style in Bridges-Go-Round (1958)

viewing cue: The Future (2011)

Concepts at Work

chapter 10 Movie Genres: Conventions, Formulas, and Audience Expectations

A Short History of Film Genre

Historical Origins of Genres

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

Formulas and Myths

Audience Expectations

Six Movie Genres

Comedies

Westerns

Melodramas

Musicals

viewing cue: La La Land (2016)

Horror Films

Crime Films

viewing cue: The Searchers (1956)

Making Sense of Film Genres

Prescriptive and Descriptive Approaches

Classical and Revisionist Traditions

FILM IN FOCUS: Crime Film Conventions and Formulas: Chinatown (1974)

viewing cue: Unforgiven (1992)

HISTORY CLOSE UP: John Waters and Midnight Movies

FORM IN ACTION: Melodrama and In the Mood for Love (2000)

Local and Global Genres

Concepts at Work

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

FILM IN FOCUS: Signs and Meaning

Theories of Gender and Sexuality

Cultural Studies

Film and Philosophy

Postmodernism and New Media

FILM IN FOCUS: Clueless about Contemporary Film Theory? (1995)

Concepts at Work

chapter 12 Writing a Film Essay: Observations, Arguments, Research, and Analysis

Writing an Analytical Film Essay

Personal Opinion and Objectivity

viewing cue: Birdman (2014)

Identifying Your Readers

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

FILM IN FOCUS: Interpretation, Argument, and Evidence in Rashomon (1950)

Using and Documenting Sources

FORM IN ACTION: Creating a Video Essay

FILM IN FOCUS: From Research to Writing about The Cabinet of Dr. Caligari (1920)

Concepts at Work

Glossary