Film art: an introduction [Eleventh edition] 9781259534959, 1259534952, 9781259253317, 1259253317

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell, Kristin Thompson and now,

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Film art: an introduction [Eleventh edition]
 9781259534959, 1259534952, 9781259253317, 1259253317

Table of contents :
Cover......Page 1
Half-Title......Page 2
Title......Page 4
Copyright......Page 5
ABOUT THE AUTHORS......Page 6
FILM ART—A PERSONALIZED LEARNINGAND TEACHING EXPERIENCE INFILM APPRECIATION......Page 7
FROM THE AUTHORS......Page 11
BRIEF CONTENTS......Page 13
CONTENTS......Page 14
PART 1: Film Art and Filmmaking......Page 20
CHAPTER 01: Film as Art: Creativity, Technology, and Business......Page 21
Art vs. Entertainment? Art vs. Business?......Page 22
Creative Decisions in Filmmaking......Page 23
CREATIVE DECISIONS To See into the Night in Collateral......Page 24
Illusion Machines......Page 28
Making Films with Photographic Film......Page 29
Filmmaking with Digital Media......Page 32
Making the Movie: Film Production......Page 36
The Scriptwriting and Funding Phase......Page 37
The Preparation Phase......Page 38
The Shooting Phase......Page 39
The Assembly Phase......Page 43
A CLOSER LOOK: Some Terms and Roles in Film Production......Page 44
Modes of Production......Page 48
Exploitation, Independent Production, and DIY......Page 49
Small-Scale Production......Page 50
Artistic Implications of Different Modesof Production......Page 52
Distribution: The Center of Power......Page 54
Exhibition: Theatrical and Nontheatrical......Page 59
Ancillary Markets: Taking Movies beyond the Theater......Page 61
Artistic Implications of Distribution and Exhibition......Page 62
Screens and Sounds: Stylistic Opportunities and Challenges......Page 64
SUMMARY......Page 67
PART 2: Film Form......Page 68
Chapter 02: The Significance of Film Form......Page 69
Form as Pattern......Page 70
“Form” Versus “Content”......Page 71
Formal Expectations......Page 73
Conventions and Experience......Page 74
Form and Feeling......Page 76
Form and Meaning......Page 77
Evaluation: Good, Bad, or Indifferent?......Page 80
Function......Page 81
Similarity and Repetition......Page 82
A CLOSER LOOK: Creative Decisions: Picking Out Patterns......Page 83
Difference and Variation......Page 85
Development......Page 86
SUMMARY......Page 89
Principles of Narrative Form......Page 91
What Is Narrative?......Page 92
CREATIVE DECISIONS: How Would You Tell the Story?......Page 93
Plot and Story......Page 94
Cause and Effect......Page 96
Time......Page 98
A CLOSER LOOK: Playing Games with Story Time......Page 101
Space......Page 103
Openings, Closings, and Patterns of Development......Page 104
Range of Story Information: Restricted or Unrestricted?......Page 106
Depth of Story Information: Objective or Subjective?......Page 109
The Narrator......Page 112
A CLOSER LOOK: When the Lights Go Down, the Narration Starts......Page 113
CREATIVE DECISIONS: Choices about Narration in Storytelling......Page 115
The Classical Hollywood Cinema......Page 116
Overall Narrative Expectations in Citizen Kane......Page 118
Plot and Story in Citizen Kane......Page 119
Citizen Kane’s Causality......Page 121
Time in Citizen Kane......Page 122
Motivation in Citizen Kane......Page 124
Citizen Kane’s Parallelism......Page 125
Patterns of Plot Development in Citizen Kane......Page 126
Narration in Citizen Kane......Page 127
SUMMARY......Page 129
PART 3: Film Style......Page 130
What Is Mise-en-Scene?......Page 131
The Power of Mise-en-Scene......Page 132
Setting......Page 134
Costume and Makeup......Page 138
Lighting......Page 143
Staging: Movement and Performance......Page 150
A CLOSER LOOK: The Film Actor’s Toolkit......Page 153
Putting It All Together:Mise-en-Scene in Space and Time......Page 159
CREATIVE DECISIONS: Mise-en-Scene in a Sequence from L’Avventura......Page 160
CREATIVE DECISIONS: Mise-en-Scene in Two Shots from Day of Wrath......Page 168
Time......Page 169
Narrative Functions of Mise-en-Scenein Our Hospitality......Page 173
SUMMARY......Page 177
The Range of Tonalities......Page 178
Speed of Motion......Page 183
A CLOSER LOOK: FROM MONSTERS TO THE MUNDANE: Computer-Generated Imagery in The Lord of the Rings......Page 184
Perspective......Page 187
Framing......Page 196
A CLOSER LOOK: Virtual Perspective: 3D......Page 198
Frame Dimensions and Shape......Page 200
CREATIVE DECISIONS: Using Widescreen Framing......Page 202
Onscreen and Offscreen Space......Page 204
Camera Position: Angle, Level, Height,and Distance of Framing......Page 206
CREATIVE DECISIONS: Camera Position in a Shot from The Social Network......Page 210
The Mobile Frame......Page 213
CREATIVE DECISIONS: Mobile Framing and Film Form in Grand Illusion and Wavelength......Page 222
Duration of the Image: The Long Take......Page 228
Functions of the Long Take......Page 229
The Long Take and the Mobile Frame......Page 231
SUMMARY......Page 234
Chapter 06: The Relation of Shot to Shot: Editing......Page 235
What Is Editing?......Page 236
CREATIVE DECISIONS: Why Cut? Four Shots from The Birds......Page 237
Graphic Relations between Shot A and Shot B......Page 238
Rhythmic Relations between Shot A and Shot B......Page 243
Spatial Relations between Shot A and Shot B......Page 244
Temporal Relations between Shot A and Shot B......Page 245
Continuity Editing......Page 249
Spatial Continuity: The 180° System......Page 250
Continuity Editing in The Maltese Falcon......Page 252
Continuity Editing: Some Fine Points......Page 256
CREATIVE DECISIONS: Are You Looking at Me? Point-of-View Cutting in Rear Window......Page 260
Crosscutting......Page 263
A CLOSER LOOK: Intensified Continuity: Unstoppable, L. A. Confidential, and Contemporary Editing......Page 265
Temporal Continuity: Order, Frequency,and Duration......Page 270
Alternatives to Continuity Editing......Page 271
Graphic and Rhythmic Possibilities......Page 272
Spatial and Temporal Discontinuity......Page 273
CREATIVE DECISIONS: Discontinuity Editing in October......Page 278
SUMMARY......Page 281
Sound Decisions......Page 282
The Powers of Sound......Page 283
Guiding Our Eye and Mind......Page 284
Perceptual Properties......Page 286
Recording, Altering, and Combining Sounds......Page 289
CREATIVE DECISIONSEditing Dialogue: To Overlap or Not to Overlap?......Page 292
Musical Motifs in Breakfast at Tiffany’s......Page 297
A CLOSER LOOK: Orchestrating Romance in Jules and Jim......Page 299
Rhythm......Page 300
Fidelity......Page 303
Space......Page 304
A CLOSER LOOK: Offscreen Sound and Optical Point of ViewThe Money Exchange in Jackie Brown......Page 306
Sound Perspective......Page 313
Time......Page 315
Conversation Piece......Page 319
SUMMARY......Page 321
The Concept of Style......Page 322
CREATIVE DECISIONS: Style and the Filmmaker......Page 323
Decision Making: Techniques Working Together......Page 324
Analyzing Style......Page 325
3. What Patterns Are Formed by the Techniques?......Page 326
4. What Functions Do the Techniquesand Patterns Fulfill?......Page 328
A CLOSER LOOK: Stylistic Synthesis in Shadow of a Doubt......Page 329
Mystery and the Penetration of Space......Page 331
Style and Narration:Restriction and Objectivity......Page 333
Narrative Parallels: Settings......Page 335
Parallels: Other Techniques......Page 336
Plot Time through Editing......Page 338
A CLOSER LOOK: Gravity: Film Style in the Digital Age......Page 341
SUMMARY......Page 343
PART 4: Types of Films......Page 344
Chapter 09: Film Genres......Page 345
Understanding Genre......Page 346
Defining a Genre......Page 347
Analyzing a Genre......Page 348
Genre History......Page 350
A CLOSER LOOK: Creative Decisions in a Contemporary GenreThe Crime Thriller as Subgenre......Page 351
The Social Functions of Genres......Page 354
The Western......Page 356
The Horror Film......Page 358
The Musical......Page 361
The Sports Film......Page 365
SUMMARY......Page 368
What Is a Documentary?......Page 369
The Boundaries between Documentary and Fiction......Page 371
Genres of Documentary......Page 372
Form in Documentary Films......Page 373
Categorical Form: Introduction......Page 374
CREATIVE DECISIONS: Engaging Viewers Using Categorical Form......Page 375
An Example of Categorical Form: Gap-Toothed Women......Page 376
Rhetorical Form: Introduction......Page 381
An Example of Rhetorical Form: The River......Page 383
Experimental Film......Page 388
A Range of Technical Choices......Page 389
CREATIVE DECISIONS: Designing Form in an Abstract Film......Page 390
An Example of Abstract Form: Ballet Mécanique......Page 392
Associational Form: Introduction......Page 397
An Example of Associational Form: Koyaanisqatsi......Page 398
Types of Traditional Animation......Page 406
Types of Computer Animation......Page 408
An Example of Traditional Animation: Duck Amuck......Page 411
An Example of Experimental Animation: Dimensions of Dialogue......Page 413
SUMMARY......Page 417
PART 5: Critical Analysis of Films......Page 418
Chapter 11: Film Criticism: Sample Analyses......Page 419
His Girl Friday......Page 420
North by Northwest......Page 423
Do The Right Thing......Page 427
Moonrise Kingdom......Page 432
Breathless (À bout de souffle)......Page 437
Tokyo Story (Tokyo Monogatari)......Page 442
Chungking Express (Chung Hing sam lam)......Page 447
Man with a Movie Camera (Chelovek s kinoapparatom)......Page 451
The Thin Blue Line......Page 455
Meet Me in St. Louis......Page 460
Raging Bull......Page 465
PART 6: Film Art and Film History......Page 470
Chapter 12: Historical Changes inFilm Art: Conventions and Choices, Tradition and Trends......Page 471
CREATIVE DECISIONS: Film Form and Style across History......Page 472
Traditions and Movements in Film History......Page 474
Early Cinema (1893–1903)......Page 475
Edison vs. Lumière......Page 476
Early Form and Style......Page 477
Méliès, Magic, and Fictional Narrative......Page 478
Hollywood and the Studio System of Production......Page 479
Classical Form and Style in Place......Page 481
German Expressionism (1919–1926......Page 482
French Impressionism and Surrealism (1918–1930)......Page 485
Impressionism......Page 486
Surrealism......Page 487
Artists and the State......Page 489
NEP Cinema......Page 490
The Movement Ends......Page 491
Problems and Solutions......Page 493
Studios, Genres, and Spectacle......Page 494
Deep Focus and Narrative Innovations......Page 495
Italian Neorealism (1942–1951)......Page 496
A New Model of Storytelling......Page 497
The French New Wave (1959–1964)......Page 498
A New Wave Style......Page 499
Into the Mainstream and Beyond......Page 500
The New Hollywood and Independent Filmmaking, 1970s–1980s......Page 501
The Rise of the Movie Brats......Page 502
Other Paths......Page 503
The 1980s and After......Page 504
Hollywood and Independents, To Be Continued......Page 506
A Local Tradition Goes Global......Page 507
Story and Style......Page 508
Legacy Overseas......Page 510
GLOSSARY......Page 512
CREDITS......Page 518
A......Page 520
B......Page 521
C......Page 522
D......Page 525
E......Page 526
F......Page 527
G......Page 529
H......Page 530
I......Page 531
L......Page 532
M......Page 534
N......Page 536
O......Page 537
P......Page 538
R......Page 539
S......Page 540
T......Page 543
W......Page 544
Z......Page 545

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