Schrimer encyclopedia of film - Academy Awards - Crime Films

Editorial Board......Page 4
Contents......Page 5
Preface......Page 6
List of Articles......Page 8
Academy Awards......Page 12
Early History......Page 13
Statuette......Page 14
Other Academy Categories And Awards......Page 15
Other Academy Activities......Page 16
Katharine Hepburn......Page 17
Notable Achievements......Page 18
Protest And Critique......Page 19
Integrating Performance And Other Cinematic Elements......Page 21
Questions About Acting, Narrative, And Audiovisual Design......Page 22
Audience Experience, Cultural Conventions, And Traditions In The Performing Arts......Page 25
John Cassavetes......Page 28
Presentational And Representational Acting......Page 29
Bertolt Brecht......Page 30
Marlon Brando......Page 32
Changing Views Of Mediated Performance......Page 34
Early And Silent Action And Adventure......Page 36
Classical Cinema: Historical Adventure......Page 38
Errol Flynn......Page 39
Challenges And Change: The 1970s And After......Page 40
International Action......Page 41
Arnold Schwarzenegger......Page 42
Critical Perspectives: Nation, Gender, And Race......Page 43
Adaptation......Page 45
Filming Classic Fiction: 1927 To The Present......Page 46
John Huston......Page 49
Case Study: Adaptations Of Charles Dickens......Page 50
Genre Adaptations: Westerns, Crime, And......Page 52
Raymond Chandler......Page 53
Other Kinds Of Adaptation......Page 55
Beginnings......Page 56
Ousmane Sembene......Page 57
National Cinemas......Page 59
Issues And Trends......Page 62
Jean-Marie Teno......Page 64
Race Movies......Page 66
Breaking Down Barriers......Page 68
Oscar Micheaux......Page 69
The First Black Renaissance......Page 70
Sidney Poitier......Page 71
The Independent Spirit......Page 73
Blaxploitation......Page 74
New Jack Cinema......Page 75
Spike Lee......Page 76
Future Prospects......Page 77
Beginnings......Page 78
Radio And The Movies......Page 79
Postwar Changes......Page 80
Lew Wasserman......Page 81
Post MCA......Page 82
Animals In Production......Page 85
Structuring Animal Performance......Page 87
The Animal Star System......Page 88
Cartoons......Page 91
3D Stop-Motion Animation......Page 92
Digital Animation......Page 95
Jan Svankmajer......Page 96
Alternative Methods......Page 99
Norman McLaren......Page 100
Arabs In Hollywood......Page 103
Beginnings And Landmarks......Page 104
Elia Suleiman......Page 106
Arab Cinema Since The Late 1980s......Page 107
Themes......Page 108
Patterns In New Arab Cinema......Page 109
The Necessity Of Archives......Page 111
The First Generation......Page 112
Henri Langlois......Page 113
Moving Image Archives And History......Page 115
Peronista And Neofascist Impact On The Industry......Page 117
Major Figures......Page 118
Twenty-first Century Trends......Page 120
Extended Definitions......Page 121
Michelangelo Antonioni......Page 122
Restricted Definitions......Page 123
Textual Characteristics......Page 124
Art Cinema And Audience......Page 125
Art Cinema In The Twenty-first Century......Page 127
Precursors......Page 129
Representation And Stereotypes......Page 130
From Short Subjects To Feature Films......Page 132
Wayne Wang......Page 133
Optimism And Growth: The Early Years......Page 137
American Conquest, Australian Resistance: 1914 To 1932......Page 138
Government Intervention In The 1920s And 1930s......Page 139
Peter Weir......Page 140
The Australian New Wave: The Comedies......Page 141
From The New Wave To Genre Films......Page 142
Jane Campion......Page 144
Australian Film And Australian Culture......Page 145
Ascertaining Authorship In Cinema......Page 147
Authorship And Postwar French Criticism......Page 148
Howard Hawks......Page 149
Authorship And......Page 150
Authorship And Film Criticism In Britain And The Us In The 1960s......Page 153
Robin Wood......Page 154
The Impact Of Auteurism On The Development Of Film Studies......Page 155
The Triumph Of The Director As Auteur......Page 156
The Economics Of B Movies......Page 158
Bs At The Majors......Page 159
The Bs Of Poverty Row......Page 160
The Aethestics Of B Movies......Page 161
Edgar G. Ulmer......Page 162
Decline Of The Bs......Page 163
Emergence Of The Genre......Page 166
The Coming Of Sound And The Interwar Years......Page 167
The Biopic In War......Page 168
Postwar Transformations And Beyond......Page 169
Ken Russell......Page 171
New Channels......Page 172
The......Page 174
Chanchadas: A Film Industry For A National Cinema......Page 175
Cinema Novo......Page 176
Carlos Diegues......Page 177
The Aesthetics Of Hunger......Page 178
Cannibalism And Tropicalism......Page 179
The Globalization Of National Cinema......Page 180
Development Of The Motion Picture Camera......Page 183
Thomas Alva Edison......Page 185
Anatomy Of A Camera......Page 186
Technological Developments......Page 189
Richard Leacock......Page 190
Types Of Camera Movement......Page 193
Kenji Mizoguchi......Page 194
Functions Of Camera Movement......Page 197
Camera Movement And The Long Take......Page 199
Max Ophuls......Page 200
Beginnings......Page 204
The National Film Board......Page 205
A Feature Film Industry Begins......Page 206
David Cronenberg......Page 207
Filmmaking In Quebec......Page 208
The Canadian New Wave......Page 210
Atom Egoyan......Page 211
Early Canon Formation......Page 214
The Influence Of Bazin And Auteurism......Page 215
Contemporary Challenges To The Canon......Page 216
Cartoons......Page 218
The Golden Era......Page 219
Chuck Jones......Page 221
The Television Era......Page 222
Casting In The Studio Era......Page 225
Stock Companies......Page 227
Lynn Stalmaster......Page 228
Off-casting And Miscasting......Page 230
Alternative Approaches To Casting......Page 231
American Film Censorship......Page 232
Will H. Hays......Page 233
British Film Censorship......Page 234
Pressure Groups And The Media......Page 236
Exhibition And Distribution......Page 237
Sex And Violence......Page 238
The Classical Studio Era......Page 240
Ed Harris......Page 243
Contemporary Hollywood......Page 244
Early Child Stars......Page 246
Child Stars After The 1950s......Page 248
Shirley Temple......Page 249
Recent Years......Page 251
Films For Children Before Disney......Page 253
Films For Children After Disney......Page 254
International Films About Children......Page 255
American Films About Children After World War II......Page 256
Industrial Experiments......Page 259
Exile And Beyond......Page 260
Raul Ruiz......Page 261
Beginnings And First Generation......Page 264
Third Generation......Page 265
Fifth Generation......Page 266
Zhang Yimou......Page 268
Planned Economy Era......Page 269
Cinematic Contexts......Page 271
Recognizable Choreographers......Page 272
Bob Fosse......Page 274
Nonmusical Films......Page 275
Cinematography......Page 276
The Cinematographer’s Technique......Page 277
The Cinematographer’s Tools......Page 278
Gregg Toland......Page 279
Nestor Almendros......Page 282
‘‘Good’’ Cinematography......Page 283
Rear-Projection And Other Challenges......Page 286
French Cinephilia......Page 289
American Cinephilia......Page 290
The Future Of Cinephilia......Page 291
Working-class Entertainment......Page 293
Challenges To The Class Structure......Page 294
Mike Leigh......Page 296
Discussing Class During The Cold War......Page 297
Cinema In The Age Of Late Capitalism......Page 299
The Red Menace......Page 301
The Blacklist......Page 302
Edward Dmytryk......Page 304
Dalton Trumbo......Page 306
The Hip Cold War......Page 308
Partnerships In Early Cinema And The Studio Era......Page 311
From Auteurs To Amateurs......Page 314
Definition Of Terms......Page 315
European Colonial Cinema......Page 316
Tracey Moffatt......Page 317
Postcolonial Cinema Worldwide......Page 319
Tinting, Toning, And Early Color Systems......Page 322
Three-strip Technicolor......Page 324
Herbert Thomas Kalmus......Page 325
The Color Effect And Color Film......Page 327
Some Important Color Films......Page 329
The Rise of Columbia Pictures......Page 331
Capra, Cohn, And The Columbia House Style......Page 332
Harry Cohn......Page 333
The Wartime And Postwar Eras......Page 335
Rita Hayworth......Page 336
Post-Cohn Columbia: Into The New Hollywood......Page 339
Clown Comedy......Page 341
Dark Comedy......Page 343
Charlie Chaplin......Page 344
Parody......Page 346
Romantic Comedy......Page 347
Woody Allen......Page 348
Comic Strips On Film......Page 352
American Comic Books On Film......Page 353
Comic Book Films In Europe And Asia......Page 354
The Cartoonist-filmmaker Connection......Page 355
‘‘Film Europe’’ And The Early Sound Film......Page 356
The Postwar Era......Page 357
Co-production Today......Page 358
The Costume’s Construction And Purpose......Page 361
The Costume Designer’s Relationship With The Film Crew And Cast......Page 362
International History Of Costume Design......Page 364
Adrian......Page 365
Trend Setting......Page 366
Main Titles And End Titles......Page 369
Saul Bass......Page 370
Billing......Page 371
Titles In Film History......Page 372
Titling Techniques......Page 373
Crew......Page 376
The Director And Team......Page 377
Pre-production: The Script, Casting, And Locations......Page 378
Camera, Lighting, Electrical, And Production Sound Departments......Page 379
Postproduction Sound......Page 380
Crew Size and Onscreen Credits......Page 381
Crime Films......Page 383
A Brief History of Movie Crime......Page 384
The Structure Of Crime Formulas......Page 385
An Enduring Ambivalence......Page 386
Humphrey Bogart......Page 387
A Man’s World......Page 389
Crime, Entertainment, And Society......Page 390
Martin Scorsese......Page 391