Looking at Movies: An Introduction to Film 2e + 2 DVDs + Writing about Movies
WW Norton & Co (Verlag)
978-0-393-17130-3 (ISBN)
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Includes two DVDs, access to the student website, and a supplementary Writing About Movies guide. Also available as an eBook.
Richard Barsam (Ph.D., University of Southern California) is Professor Emeritus of Film Studies at Hunter College, City University of New York. He is the author of Nonfiction Film: A Critical History (rev., exp. ed. 1992), The Vision of Robert Flaherty: The Artist as Myth and Filmmaker (1988), In the Dark: A Primer for the Movies (1977), and Filmguide to "Triumph of the Will" (1975); editor of Nonfiction Film Theory and Criticism (1976); and contributing author to Paul Monaco's The Sixties: 1960-1969 (Vol. 8, History of the American Cinema, 2001) and Filming Robert Flaherty's "Louisiana Story": The Helen Van Dongen Diary (ed. Eva Orbanz, 1998). His articles and book reviews have appeared in Cinema Journal, Quarterly Review of Film Studies, Film Comment, Studies in Visual Communication, and Harper's. He has been a member of the Executive Council of the Society for Cinema and Media Studies, the Editorial Board of Cinema Journal, and the Board of Advisers of the History of American Cinema series, and he cofounded the journal Persistence of Vision
1. What Is a Movie?
Learning Objectives
Looking at Movies
Form and Content
Form and Expectations
Patterns
Principles of Film Form
Movies Manipulate Space and Time in Unique Ways
Movies Depend on Light
Photography
Series Photography
Motion Picture Photography
Movies Provide an Illusion of Movement
Realism and Antirealism
Verisimilitude
Cinematic Language
Types of Movies
Narrative Films
Genre
Nonfiction Films
Animated Films
Experimental Films
Summary: What Is a Movie?
Analyzing Movies
Screening Checklist: What Is a Movie?
Questions for Review
Movies Described or Illustrated in This Chapter
2. Narrative
Learning Objectives
What Is Narrative?
The Screenwriter
Evolution of a Typical Screenplay
Elements of Narrative
Story and Plot
Order
Events: Hubs and Satellites
Duration
Suspense Versus Surprise
Repetition
Characters
Setting
Scope
Narration and Narrators
Looking at Narrative: John Ford/'s Stagecoach
Story
Plot
Order
Diegetic and Nondiegetic Elements
Hubs and Satellites
Duration
Suspense
Repetition
Characters
Setting
Scope
Narration
Analyzing Narrative
Screening Checklist: Narrative
Questions for Review
Movies Described or Illustrated in This Chapter
3. Mise-en-Sc¿ne
Learning Objectives
What Is Mise-en-Sc¿ne?
Design
The Production Designer
Elements of Design
Setting, D¿cor, and Properties
Lighting
Costume, Makeup, and Hairstyle
International Styles of Design
Composition
Framing: What We See on the Screen
Onscreen and Offscreen Space
Open and Closed Framing
Kinesis: What Moves on the Screen
Movement of Figures Within the Frame
Looking at Mise-en-Sc¿ne
Tim Burton/'s Sleepy Hollow
Sam Mendes/'s American Beauty
Michael Almereyda/'s Hamlet
Analyzing Mise-en-Sc¿ne
Screening Checklist: Mise-en-Sc¿ne
Questions for Review
Movies Described or Illustrated in This Chapter
4. Cinematography
Learning Objectives
What Is Cinematography?
The Director of Photography
Cinematographic Properties of the Shot
Film Stock
Black and White
Color
Lighting
Source
Quality
Direction
Style
Lenses
Framing of the Shot
Proximity to the Camera
Depth
Camera Angle and Height
Eye Level
High Angle
Low Angle
Dutch Angle
Aerial View
Scale
Camera Movement
Pan Shot
Tilt Shot
Dolly Shot
Zoom
Crane Shot
Handheld Camera
Steadicam
Framing and Point of View
Speed and Length of the Shot
Special Effects
In-Camera, Mechanical, and Laboratory Effects
Computer-Generated Imagery
Analyzing Cinematography
Screening Checklist: Cinematography
Questions for Review
Movies Described or Illustrated in This Chapter
5. Acting
Learning Objectives
What Is Acting?
Movie Actors
The Evolution of Screen Acting
Early Screen-Acting Styles
D. W. Griffith and Lillian Gish
The Influence of Sound
Acting in the Classical Studio Era
Method Acting
Screen Acting Today
Casting Actors
Factors Involved in Casting
Aspects of Performance
Types of Roles
Preparing for Roles
Naturalistic and Nonnaturalistic Styles
Improvisational Acting
Directors and Actors
How Filmmaking Affects Acting
Framing, Composition, Lighting, and the Long Take
The Camera and the Close-up
Acting and Editing
Looking at Acting
Barbara Stanwyck in King Vidor/'s Stella Dallas
Hilary Swank in Clint Eastwood/'s Million Dollar Baby
Analyzing Acting
Screening Checklist: Acting
Questions for Review
Movies Described or Illustrated in This Chapter
6. Editing
Learning Objectives
What Is Editing?
The Film Editor
The Editor/'s Responsibilities
Spatial Relationships Between Shots
Temporal Relationships Between Shots
Rhythm
Major Approaches to Editing: Continuity and Discontinuity
Conventions of Continuity Editing
Master Shot
Screen Direction
Editing Techniques That Maintain Continuity
Shot/Reverse Shot
Match Cuts
Match-on-Action Cut
Graphic Match Cut
Eyeline Match Cut
Parallel Editing
Point-of-View Editing
Other Transitions Between Shots
Jump Cut
Fade
Dissolve
Wipe
Iris Shot
Freeze-Frame
Split Screen
Analyzing Editing
Screening Checklist: Editing
Questions for Review
Movies Described or Illustrated in This Chapter
7. Sound
What Is Sound?
Sound Production
Design
Recording
Editing
Mixing
Describing Film Sound
Pitch, Loudness, Quality
Fidelity
Sources of Film Sound
Diegetic Versus Nondiegetic
Onscreen Versus Offscreen
Internal Versus External
Types of Film Sound
Vocal Sounds
Environmental Sounds
Music
Silence
Types of Sound in Steven Spielberg/'s War of the Worlds
Functions of Film Sound
Audience Awareness
Audience Expectations
Expression of Point of View
Rhythm
Characterization
Continuity
Emphasis
Sound in Orson Welles/'s Citizen Kane
Sources and Types
Functions
Characterization
Themes
Analyzing Sound
Screening Checklist: Sound
Questions for Review
Movies Described or Illustrated in This Chapter
8. Thinking About Movies, Theory, and Meaning
Movies and Meanings
Film Theory and Film Criticism
Explicit, Implicit, and Ideological Meanings
Critical Approaches
Interpretive Frameworks
Mimesis and Catharsis
Binary Oppositions (Dualism)
Major Film Theories
Auteurism
Psychological Theories
Freudianism
Cognitive Psychology
Ideological Theories
Marxism
Feminism
Cultural Studies
Applied Readings
Mimesis and Catharsis: Die Hard
Binary Oppositions: Die Hard
Freudianism: Wall Street
Cognitive Psychology: Vertigo
Auteurism: Rear Window
Marxism: Metropolis
Feminism: Thelma & Louise
Cultural Studies: Repo Man
Other Forms of Film Analysis
Genre Study
Film History Study
Types of Historical Writing About the Movies
Analyzing Movies
Screening Checklist: Movies, Theory, and Meaning
Questions for Review
Movies Described or Illustrated in This Chapter
Appendix: Hollywood Production Systems
How a Movie Is Made
Preproduction
Production
Postproduction
The Studio System
Organization Before 1931
Organization After 1931
Organization During the Golden Age
Labor and Unions
Professional Organizations and Standardization
The Decline of the Studio System
The Independent System
Financing in the Industry
Marketing and Distribution
Production in Hollywood Today
The Impact of Digital Production and Exhibition
Maverick Producers and Directors
Further Viewing
Further Viewing
Academy Award Winners for Best Picture
Sight & Sound: Top Ten Best Movies of All Time
American Film Institute: One Hundred Greatest American Movies of
All Time
Entertainment Weekly: One Hundred Greatest Movies of All Time
The Village Voice: One Hundred Best Films of the Twentieth
Century
Further Reading
Glossary
| Erscheint lt. Verlag | 31.5.2007 |
|---|---|
| Verlagsort | New York |
| Sprache | englisch |
| Gewicht | 1172 g |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| ISBN-10 | 0-393-17130-2 / 0393171302 |
| ISBN-13 | 978-0-393-17130-3 / 9780393171303 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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