Film Art an Introduction 12th

Cover
Title Page
Copyright Page
About The Authors
Preface
From The Authors
Acknowledgments
Brief Contents
Contents
PART ONE • Film Art and Filmmaking
CHAPTER 1 Film as Art: Creativity, Technology, and Business
Art vs. Entertainment? Art vs. Business?
Creative Decisions in Filmmaking
CREATIVE DECISIONS: A Modern, Old-Fashioned Musical: La La Land
Mechanics of the Movies
Illusion Machines
Making Films with Photographic Film
Filmmaking with Digital Media
Making the Movie: Film Production
The Scriptwriting and Funding Phase
The Preparation Phase
The Shooting Phase
The Assembly Phase
A CLOSER LOOK: Some Terms and Roles in Film Production
Artistic Implications of the Production Process
Modes of Production
Large-Scale Production
Exploitation, Independent Production, and DIY
Small-Scale Production
Artistic Implications of Different Modes of Production
Bringing the Film to the Audience: Distribution and Exhibition
Distribution: The Center of Power
Exhibition: Theatrical and Nontheatrical
Ancillary Markets: Taking Movies beyond the Theater
Artistic Implications of Distribution and Exhibition
Screens and Sounds: Stylistic Opportunities and Challenges
SUMMARY
PART TWO • Film Form
CHAPTER 2 The Significance of Film Form
The Concept of Form in Film
Form as Pattern
Form Versus Content
Formal Expectations
Conventions and Experience
Form and Feeling
Form and Meaning
Evaluation: Good, Bad, or Indifferent?
Principles of Film Form
Function
Similarity and Repetition
A CLOSER LOOK: Creative Decisions: Picking Out Patterns
Difference and Variation
Development
Unity and Disunity
SUMMARY
CHAPTER 3 Narrative Form
Principles of Narrative Form
What Is Narrative?
Telling the Story
CREATIVE DECISIONS: How Would You Tell the Story?
Plot and Story
Cause and Effect
Time
A CLOSER LOOK: Playing Games with Story Time
Space
Openings, Closings, and Patterns of Development
Narration: The Flow of Story Information
Range of Story Information: Restricted or Unrestricted?
Depth of Story Information: Objective or Subjective?
The Narrator
A CLOSER LOOK: When the Lights Go Down, the Narration Starts
CREATIVE DECISIONS: Choices about Narration in Storytelling
The Classical Hollywood Cinema
Narrative Form in Citizen Kane
Overall Narrative Expectations in Citizen Kane
Plot and Story in Citizen Kane
Citizen Kane’s Causality
Time in Citizen Kane
Motivation in Citizen Kane
Citizen Kane’s Parallelism
Patterns of Plot Development in Citizen Kane
Narration in Citizen Kane
SUMMARY
PART THREE • Film Style
CHAPTER 4 The Shot: Mise-en-Scene
What Is Mise-en-Scene?
The Power of Mise-en-Scene
Components of Mise-en-Scene
Setting
Costume and Makeup
Lighting
Staging: Movement and Performance
A CLOSER LOOK: The Film Actor’s Toolkit
Putting It All Together: Mise-en-Scene in Space and Time
CREATIVE DECISIONS: Mise-en-Scene in a Sequence from L’Avventura
Space
CREATIVE DECISIONS: Guiding Our Attention in Black and White and Color
Time
Narrative Functions of Mise-en-Scene in Our Hospitality
SUMMARY
CHAPTER 5 The Shot: Cinematography
The Photographic Image
The Range of Tonalities
Speed of Motion
A CLOSER LOOK: From Monsters to the Mundane: Computer-Generated Imagery in The Lord of the Rings
Perspective
Framing
A CLOSER LOOK: Virtual Perspective: 3D
Frame Dimensions and Shape
CREATIVE DECISIONS: Using Widescreen Framing
Onscreen and Offscreen Space
Camera Position: Angle, Level, Height, and Distance of Framing
CREATIVE DECISIONS: Camera Position in a Shot from The Social Network
The Mobile Frame
CREATIVE DECISIONS: Mobile Framing and Film Form in Grand Illusion and Wavelength
Duration of the Image: The Long Take
Real Time Is . . . What?
Functions of the Long Take
The Long Take and the Mobile Frame
SUMMARY
CHAPTER 6 The Relation of Shot to Shot: Editing
What Is Editing?
CREATIVE DECISIONS: Why Cut? Four Shots from The Birds
Dimensions of Film Editing
Graphic Relations between Shot A and Shot B
Rhythmic Relations between Shot A and Shot B
Spatial Relations between Shot A and Shot B
Temporal Relations between Shot A and Shot B
Continuity Editing
Spatial Continuity: The 180° System
Continuity Editing in The Maltese Falcon
Continuity Editing: Some Fine Points
CREATIVE DECISIONS: Are You Looking at Me? Point-of-View Cutting in Rear Window
Crosscutting
A CLOSER LOOK: Intensified Continuity: Unstoppable, L. A. Confidential, and Contemporary Editing
Temporal Continuity: Order, Frequency, and Duration
Alternatives to Continuity Editing
Graphic and Rhythmic Possibilities
Spatial and Temporal Discontinuity
CREATIVE DECISIONS: Discontinuity Editing in October
SUMMARY
CHAPTER 7 Sound in the Cinema
Sound Decisions
The Powers of Sound
Sound Shapes Our Understanding of Images
Guiding Our Eye and Mind
Fundamentals of Film Sound
What Do We Hear?
Recording, Altering, and Combining Sounds
CREATIVE DECISIONS: Editing Dialogue: To Overlap or Not to Overlap?
Musical Motifs in Breakfast at Tiffany’s
A CLOSER LOOK: Orchestrating Romance in Jules and Jim
Dimensions of Film Sound
Rhythm
Fidelity
Space
A CLOSER LOOK: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown
Sound Perspective
Time
Conversation Piece
SUMMARY
CHAPTER 8 Summary: Style and Film Form
The Concept of Style
CREATIVE DECISIONS: Style and the Filmmaker
Decision Making: Techniques Working Together
Watching and Listening: Style and the Viewer
Analyzing Style
1. What Is the Film’s Overall Form?
2. What Are the Main Techniques Being Used?
3. What Patterns Are Formed by the Techniques?
4. What Functions Do the Techniques and Patterns Fulfill?
A CLOSER LOOK: Stylistic Synthesis in Shadow of a Doubt
Style in Citizen Kane
Mystery and the Penetration of Space
Style and Narration: Restriction and Objectivity
Style and Narration: Omniscience
Narrative Parallels: Settings
Parallels: Other Techniques
A Convincing Newsreel
Plot Time through Editing
Style and the Viewer’s Response
A CLOSER LOOK: Gravity: Film Style in the Digital Age
SUMMARY
PART FOUR • Types of Films
CHAPTER 9 Film Genres
Understanding Genre
Defining a Genre
Analyzing a Genre
Genre History
A CLOSER LOOK: Creative Decisions in a Contemporary Genre: The Crime Thriller as Subgenre
The Social Functions of Genres
Four Genres
The Western
The Horror Film
The Musical
The Sports Film
SUMMARY
CHAPTER 10 Documentary, Experimental, and Animated Films
Documentary
What Is a Documentary?
The Boundaries between Documentary and Fiction
Genres of Documentary
Form in Documentary Films
Categorical Form: Introduction
CREATIVE DECISIONS: Engaging Viewers Using Categorical Form
An Example of Categorical Form: Gap-Toothed Women
Rhetorical Form: Introduction
An Example of Rhetorical Form: The River
Experimental Film
A Range of Technical Choices
Types of Form in Experimental Films
Abstract Form: Introduction
CREATIVE DECISIONS: Designing Form in an Abstract Film
An Example of Abstract Form: Ballet Mécanique
Associational Form: Introduction
An Example of Associational Form: Koyaanisqatsi
The Animated Film
Types of Traditional Animation
Types of Computer Animation
An Example of Traditional Animation: Duck Amuck
An Example of Experimental Animation: Dimensions of Dialogue
SUMMARY
PART FIVE • Critical Analysis of Films
CHAPTER 11 Film Criticism: Sample Analyses
The Classical Narrative Cinema
His Girl Friday
North by Northwest
Do the Right Thing
Moonrise Kingdom
Narrative Alternatives to Classical Filmmaking
Breathless (À Bout de souffle)
Tokyo Story (Tokyo Monogatari)
Chungking Express (Chung Hing sam lam)
Documentary Form and Style
Man with a Movie Camera (Chelovek s kinoapparatom)
The Thin Blue Line
Form, Style, and Ideology
Meet Me in St. Louis
Ali: Fear Eats the Soul
PART SIX • Film Art and Film History
CHAPTER 12 Historical Changes in Film Art: Conventions and Choices, Tradition and Trends
CREATIVE DECISIONS: Film Form and Style across History
Traditions and Movements in Film History
Early Cinema (1893–1903)
Photography and Cinema
Edison vs. Lumie`re
Early Form and Style
Méliès, Magic, and Fictional Narrative
The Development of the Classical Hollywood Cinema (1908–1927)
Hollywood and the Studio System of Production
Classical Form and Style in Place
German Expressionism (1919–1926)
French Impressionism and Surrealism (1918–1930)
Impressionism
Surrealism
Soviet Montage (1924–1930)
Artists and the State
NEP Cinema
The Priority of Editing
The Movement Ends
The Classical Hollywood Cinema after the Coming of Sound (1926–1950)
Converting to Sound
Problems and Solutions
Studios, Genres, and Spectacle
Deep Focus and Narrative Innovations
Italian Neorealism (1942–1951)
Leaving the Studio
A New Model of Storytelling
The Movement’s End and Its Legacy
The French New Wave (1959–1964)
Critics Become Moviemakers
A New Wave Style
Neorealism Recast
Into the Mainstream and Beyond
The New Hollywood and Independent Filmmaking, 1970s–1980s
Blockbusters and Indie Pictures
The Rise of the Movie Brats
Other Paths
The 1980s and After
Hollywood and Independents, To Be Continued
Hong Kong Cinema, 1980s–1990s
A Local Tradition Goes Global
The New Generation: Two Schools
Story and Style
Legacy Overseas
Glossary
Index
Copyright
Title Page
Dedication
Contents
Chapter 1: ‘I’m thinking’ – Oh, but are you?
Chapter 2: Renegade perception
Chapter 3: The Pushbacker sting
Chapter 4: ‘Covid’: The calculated catastrophe
Chapter 5: There is no ‘virus’
Chapter 6: Sequence of deceit
Chapter 7: War on your mind
Chapter 8: ‘Reframing’ insanity
Chapter 9: We must have it? So what is it?
Chapter 10: Human 2.0
Chapter 11: Who controls the Cult?
Chapter 12: Escaping Wetiko
Postscript
Appendix: Cowan-Kaufman-Morell Statement on Virus Isolation
Bibliography
Index
Copyright
Title Page
Dedication
Contents
Chapter 1: ‘I’m thinking’ – Oh, but are you?
Chapter 2: Renegade perception
Chapter 3: The Pushbacker sting
Chapter 4: ‘Covid’: The calculated catastrophe
Chapter 5: There is no ‘virus’
Chapter 6: Sequence of deceit
Chapter 7: War on your mind
Chapter 8: ‘Reframing’ insanity
Chapter 9: We must have it? So what is it?
Chapter 10: Human 2.0
Chapter 11: Who controls the Cult?
Chapter 12: Escaping Wetiko
Postscript
Appendix: Cowan-Kaufman-Morell Statement on Virus Isolation
Bibliography
Index