Film an introduction [4 ed] 9780312487256, 0312487258, 023022332X, 9780230223325

Table of contents :
Cover Page......Page 1
Title Page......Page 5
Copyright Page......Page 6
Preface to the Fourth Edition......Page 7
Brief Contents......Page 17
Contents......Page 19
Introduction......Page 29
Part One THE EXPRESSIVENESS OF FILM TECHNIQUES......Page 37
Chapter 1 Mise en Scène......Page 39
SETTINGS......Page 41
Types of Settings......Page 42
Functions of Settings......Page 44
Action, Reaction, and Appearance......Page 48
Characters and Acting......Page 51
Shape of Projected Image......Page 65
Empty Space......Page 68
Taking Sides......Page 71
Foreground and Background......Page 73
Symmetrical and Asymmetrical Compositions......Page 77
MISE EN SCÈNE AND THE WORLD OUTSIDE THE FRAME......Page 80
CLOSE-UP: MISE EN SCÈNE IN CITIZEN KANE......Page 83
SUMMARY......Page 84
QUESTIONS ABOUT MISE EN SCÈNE......Page 86
FILM STOCK......Page 89
Gauge......Page 90
Speed......Page 92
Color......Page 93
Two Types of Light......Page 98
Direction and Intensity of Light......Page 107
Shadows......Page 111
Other Uses of Light......Page 112
THE CAMERA......Page 114
Lenses and Focus......Page 115
Camera Distances......Page 119
Perspective......Page 124
Angles and Point-of-View Shots......Page 125
Moving Camera......Page 130
Filmmakers Talk about Cinematography......Page 136
DIGITAL CINEMATOGRAPHY......Page 138
CLOSE-UP: CAMERA DISTANCES AND ANGLES IN A SCENE FROM REVERSAL OF FORTUNE (STUDENT ESSAY)......Page 141
SUMMARY......Page 143
QUESTIONS ABOUT CINEMATOGRAPHY......Page 146
Chapter 3 Editing......Page 157
EARLY FILM EDITING......Page 159
Editing of “A Trip to the Moon”......Page 160
Shots, Scenes, Sequences......Page 163
Transitions......Page 165
CONTINUITY EDITING......Page 170
Superimpositions......Page 174
Juxtapositions......Page 175
Action and Reaction......Page 181
Parallel Editing......Page 182
Fast and Slow Cutting......Page 186
Condensing Time and Stretching It: Montage and Other Editing Techniques......Page 188
DIGITAL EDITING......Page 193
CLOSE-UP: THE EXPRESSIVENESS OF EDITING (AND OTHER TECHNIQUES): AN EXCERPT FROM HIGH NOON......Page 195
SUMMARY......Page 197
QUESTIONS ABOUT EDITING......Page 199
Chapter 4 Sound......Page 201
Opening Soundtrack for Contact (1997)......Page 202
FILM SOUND: EARLY AND RECENT......Page 203
COMPONENTS OF THE SOUNDTRACK AND THEIR USES......Page 206
Spoken Words......Page 207
Sound Effects......Page 210
Music......Page 214
Silence......Page 220
Transitions......Page 221
General Uses of Sound in Narrative Films......Page 223
CLOSE-UP: SOUND IN ONE MINUTE OF FATAL ATTRACTION (STUDENT ESSAY)......Page 228
CLOSE-UP: VOCALS, SOUND EFFECTS, AND MUSIC IN AN EXCERPT FROM PSYCHO (1960)......Page 230
SUMMARY......Page 232
QUESTIONS ABOUT FILM SOUND......Page 234
POSTSCRIPT TO PART ONE: OBVIOUS VS. SUBTLE FILM TECHNIQUES......Page 237
Part Two FICTIONAL FILMS......Page 245
Chapter 5 Sources for Fictional Films......Page 247
Screenplays and Shooting Scripts......Page 248
Storyboards......Page 253
INDIVIDUAL SOURCES......Page 254
History......Page 255
JFK: Fact and Fiction......Page 256
Fiction......Page 262
Plays......Page 266
Television......Page 272
Other Films......Page 275
MULTIPLE SOURCES......Page 287
CLOSE-UP: “THE DEAD”: NOVELLA TO FILM (STUDENT ESSAY)......Page 291
SUMMARY......Page 292
QUESTIONS ABOUT SOURCES FOR FICTIONAL FILMS......Page 295
Chapter 6 Components of Fictional Films......Page 298
NARRATIVES: FACTUAL AND FICTIONAL......Page 299
SHORT FICTIONAL FILMS......Page 302
Structure......Page 305
Time......Page 324
Structure of Run Lola Run......Page 326
Style......Page 333
CLOSE-UP: THE PLOT AND FABULA OF PULP FICTION......Page 343
SUMMARY......Page 346
QUESTIONS ABOUT COMPONENTS OF FICTIONAL FILMS......Page 348
Chapter 7 Types of Fictional Films......Page 351
Characteristics of Classical Hollywood Cinema......Page 352
Film Genres: Related Fictional Films (the Western, Film Noir, and the Musical)......Page 354
OTHER CINEMAS......Page 377
Italian Neorealist Cinema......Page 378
French New Wave Cinema......Page 381
European Independent Films......Page 384
American Independent Cinema......Page 386
Bollywood......Page 388
Hong Kong Cinema......Page 392
CLOSE-UP: OUT OF THE PAST AS FILM NOIR (STUDENT ESSAY)......Page 396
SUMMARY......Page 397
QUESTIONS ABOUT TYPES OF FICTIONAL FILMS......Page 399
Part Three ALTERNATIVES TO LIVE-ACTION FICTIONAL FILMS......Page 405
Chapter 8 Documentary Films......Page 407
Mediated Reality......Page 408
Inform......Page 411
Criticize......Page 412
Celebrate......Page 413
WHAT STEPS MIGHT BE TAKEN TO CONSTRUCT DOCUMENTARIES?......Page 415
Selecting Subjects......Page 417
Finding and Using Sources......Page 420
Structuring the Parts into a Nonnarrative or a Narrative Whole......Page 424
Using a Variety of Filmmaking Techniques......Page 430
HOW DOES FILMMAKING TECHNOLOGY AFFECT THE DOCUMENTARY FILMS MADE?......Page 432
CLOSE-UP: HEARTS OF DARKNESS: A FILMMAKER’S APOCALYPSE AS A NARRATIVE DOCUMENTARY FILM......Page 436
SUMMARY......Page 439
QUESTIONS ABOUT DOCUMENTARY FILMS......Page 440
EXPERIMENTAL FILMS......Page 443
What Are Experimental Films?......Page 445
What Are Sources and Subjects for Experimental Films?......Page 449
What Film Techniques Might Be Used to Make Experimental Films?......Page 457
What Are Some of the Types of Experimental Films?......Page 458
HYBRID FILMS......Page 461
ANIMATION......Page 467
“T.R.A.N.S.I.T.”: A Description......Page 471
CLOSE-UP: “UN CHIEN ANDALOU” AS AN EXPERIMENTAL FILM......Page 473
SUMMARY......Page 474
QUESTIONS ABOUT EXPERIMENTAL, HYBRID, AND ANIMATED FILMS......Page 476
Part Four UNDERSTANDING FILMS......Page 481
THE CONTEXTS OF A FILM’S MAKING......Page 483
Social and Political Attitudes......Page 485
Censorship......Page 502
Excerpts from The Production Code of the Motion Picture Producers and Directors of America, Inc., 1930–1934......Page 506
Artistic Conventions......Page 514
Financial Constraints......Page 517
Filmmaking Technology......Page 519
THE VERSION OF THE FILM THAT IS SEEN......Page 523
Shape of the Projected Image......Page 524
Resolution and Brightness......Page 525
Color......Page 526
Translations......Page 527
THE SETTING IN WHICH A FILM IS SEEN......Page 528
Nickelodeons......Page 529
Movie Palaces......Page 531
IMAX Theaters......Page 532
At a Movie Palace: October 1929......Page 534
Home Viewing......Page 536
CLOSE-UP: HOMOSEXUALITY IN THE MALTESE FALCON: THE NOVEL, THE PRODUCTION CODE, AND THE 1941 MOVIE......Page 538
SUMMARY......Page 540
QUESTIONS ABOUT UNDERSTANDINGFILMS THROUGH CONTEXTS......Page 542
VIEWERS’ EXPECTATIONS AND INTERACTIONS......Page 547
Viewers’ Expectations......Page 548
Viewers’ Interactions with a Film during a Film Showing......Page 552
TYPES OF MEANINGS FOUND OR FORMULATED......Page 554
Explicit Meanings......Page 555
Implicit Meanings......Page 557
Universal Meanings and Symptomatic Meanings......Page 573
Prior Knowledge of the Film or a Subject in the Film......Page 577
Viewers’ Backgrounds......Page 579
Critical Approaches......Page 581
CLOSE-UP: THE SIGNIFICANCE OF “ROSEBUD” (STUDENT ESSAY)......Page 586
CLOSE-UP: THINKING ABOUT THE TRUMAN SHOW......Page 587
SUMMARY......Page 589
QUESTIONS ABOUT THINKING ABOUT FILMS......Page 591
Part Five WRITING ABOUT FILMS......Page 597
READING TIPS......Page 599
Read......Page 600
WRITING DEFINITIONS......Page 601
WRITING ABOUT FILMS......Page 603
Prewriting......Page 604
Writing......Page 605
Rewriting and Rewriting: Some Strategies......Page 606
Getting Feedback......Page 608
Two Sample Student Essays......Page 611
ANNOTATED BIBLIOGRAPHY FOR THE INTRODUCTORY FILM STUDENT......Page 617
DESCRIPTION......Page 623
Mise en Scène......Page 625
Cinematography......Page 636
Editing......Page 638
Sound......Page 640
Sources for Fictional Films......Page 642
Components of Fictional Films......Page 646
Types of Fictional Films......Page 647
Understanding The Player through Contexts......Page 649
Thinking about The Player......Page 650
APPENDICES......Page 657
A CHRONOLOGY: FILM IN CONTEXT (1895–2008)......Page 659
ILLUSTRATED GLOSSARY......Page 719
HOW TO READ FILM CREDITS......Page 746
Index......Page 757

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