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An Introduction to Film

(Marvins-Underground-K-12) #1

xiiCONTENTS



  • CHAPTER Acknowledgments xix

  • Looking at Movies

  • Learning Objectives

  • Looking at Movies

  • What Is a Movie?

  • Ways of Looking at Movies

    • Invisibility and Cinematic Language

    • Cultural Invisibility

    • Implicit and Explicit Meaning

    • Viewer Expectations

    • Formal Analysis

    • Cultural and Formal Analysis in Harry Potter



  • Analyzing Movies

  • Screening Checklist: Looking at Movies

  • Questions for Review

  • Movies Described or Illustrated in This Chapter

    • CHAPTER

    • Principles of Film Form

    • Learning Objectives

    • Film Form

    • Form and Content

    • Form and Expectations

    • Patterns

    • Fundamentals of Film Form

      • Movies Depend on Light

      • Movies Provide an Illusion of Movement

      • Ways Movies Manipulate Space and Time in Unique



    • Realism and Antirealism

      • Verisimilitude



    • Cinematic Language

    • Analyzing Principles of Film Form

    • Screening Checklist: Principles of Film Form

    • Questions for Review

    • Movies Described or Illustrated in This Chapter



  • CHAPTER viiiCONTENTS

  • Types of Movies

  • Learning Objectives

  • The Idea of Narrative

  • Types of Movies

    • Narrative Movies

    • Documentary Movies

    • Experimental Movies



  • Hybrid Movies

  • Genre

    • Genre Conventions

      • Story Formulas

      • Theme

      • Character Types

      • Setting

      • Presentation

      • Stars





  • Six Major American Genres

    • Gangster

    • Film Noir

    • Science Fiction

    • Horror

    • The Western

    • The Musical



  • Evolution and Transformation of Genre

  • What about Animation?

  • Analyzing Types of Movies

  • Screening Checklist: Types of Movies

  • Questions for Review

  • Movies Described or Illustrated in This Chapter

    • CHAPTER

    • Elements of Narrative

    • Learning Objectives

    • What Is Narrative?

      • Characters

      • Narrative Structure



    • The Screenwriter

    • Elements of Narrative

      • Story and Plot

      • Order

      • Events

      • Duration

      • Suspense versus Surprise

      • Repetition

      • Setting

      • Scope



    • Looking at Narrative: John Ford’s Stagecoach

      • Story, Screenwriter, and Screenplay

      • Narration and Narrator

      • Characters

      • Narrative Structure

      • Plot

        • Order

        • Diegetic and Nondiegetic Elements

        • Events

        • Duration

        • Repetition



      • Suspense

      • Setting

      • Scope



    • Analyzing Elements of Narrative

    • Screening Checklist: Elements of Narrative

    • Questions for Review

    • Movies Described or Illustrated in This Chapter



  • CHAPTER CONTENTSix

  • Mise-en-Scène

  • Learning Objectives

  • What Is Mise-en-Scène?

  • Design

    • The Production Designer

    • Elements of Design

      • Setting, Decor, and Properties

      • Lighting

      • Costume, Makeup, and Hairstyle



    • International Styles of Design



  • Composition

    • Framing: What We See on the Screen

      • On-screen and Offscreen Space

      • Open and Closed Framing



    • Kinesis: What Moves on the Screen

      • Movement of Figures within the Frame





  • Looking at Mise-en-Scène

    • Tim Burton’s Sleepy Hollow

    • Sam Mendes’s American Beauty



  • Analyzing Mise-en-Scène

  • Screening Checklist: Mise-en-Scène

  • Questions for Review

  • Movies Described or Illustrated in This Chapter

    • CHAPTER

    • 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

        • Color



      • Lenses



    • Framing of the Shot

      • Implied Proximity to the Camera

        • Shot Types



      • 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

  • CHAPTER

  • 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

    • Technology and Acting



  • 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 xCONTENTS

        • Barbara Stanwyck in King Vidor’s Stella Dallas

        • Michelle Williams in Derek Cianfrance’s Blue Valentine



      • Analyzing Acting

      • Screening Checklist: Acting

      • Questions for Review

      • Movies Described or Illustrated in This Chapter

      • CHAPTER

      • Editing

      • Learning Objectives

      • What Is Editing?

      • The Film Editor

        • The Editor’s Responsibilities

          • Spatial Relationships between Shots

          • Temporal Relationships between Shots

          • Rhythm





      • Discontinuity Major Approaches to Editing: Continuity and

        • Conventions of Continuity Editing

          • Master Scene Technique

          • Screen Direction



        • Editing Techniques That Maintain Continuity

          • Shot/Reverse Shot

          • Match Cuts

          • Parallel Editing

          • Point-of-View Editing



        • Other Transitions between Shots

          • The Jump Cut

          • Fade

          • Dissolve

          • Wipe

          • Iris Shot

          • Freeze-Frame

          • Split Screen









  • Looking at Editing CONTENTSxi

    • Fernando Meirelles and Kátia Lund’s City of God



  • Analyzing Editing

  • Screening Checklist: Editing

  • Questions for Review

  • Movies Described or Illustrated in This Chapter

  • CHAPTER

  • Sound

  • Learning Objectives

  • What Is Sound?

  • Sound Production

    • Design

    • Recording

    • Editing

    • Mixing



  • Describing Film Sound

    • Pitch, Loudness, Quality

    • Fidelity



  • Sources of Film Sound

    • Diegetic versus Nondiegetic

    • On-screen versus Offscreen

    • Internal versus External



  • Types of Film Sound

    • Vocal Sounds

    • Environmental Sounds

    • Music

    • Silence

    • War of the Worlds Types of Sound in Steven Spielberg’s



  • 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

      • CHAPTER

      • Film History

      • Learning Objectives

      • What Is Film History?

      • Basic Approaches to Studying Film History

        • The Aesthetic Approach

        • The Technological Approach

        • The Economic Approach

        • Film as Social History



      • A Short Overview of Film History

        • Precinema

          • Photography

          • Series Photography



        • 1891–1903: The First Movies

          • The Silent Period 1908–1927: Origins of the Classical Hollywood Style–—



        • 1919–1931: German Expressionism

        • 1918–1930: French Avant-Garde Filmmaking

        • 1924–1930: The Soviet Montage Movement

        • Golden Age 1927–1947: Classical Hollywood Style in Hollywood’s





    • 1942–1951: Italian Neorealism

    • 1959–1964: French New Wave



  • Europe, and Asia 1947–Present: New Cinemas in Great Britain,

    • England and the Free Cinema Movement

    • Denmark and the Dogme 95 Movement

    • Germany and Das neue Kino

    • Japan and Postwar Filmmaking

    • China and Postwar Filmmaking

      • The People’s Republic

      • Hong Kong

      • Taiwan

      • India





  • 1965–1995: The New American Cinema

  • Analyzing Film History

  • Screening Checklist: Film History

  • Questions for Review

  • Movies Described or Illustrated in This Chapter

  • CHAPTER

  • Production Systems Filmmaking Technologies and

  • Learning Objectives

  • The Whole Equation

  • Overview Film, Video, and Digital Technologies: An

    • Film Technology

    • Video Technology

    • Digital Technology

    • Film versus Digital Technology

      • How a Movie Is Made

        • Preproduction

        • Production

        • Postproduction



      • The Studio System

        • Organization before

        • Organization after

        • Organization during the Golden Age

        • The Decline of the Studio System



      • The Independent System

        • Labor and Unions

        • Professional Organizations and Standardization



      • Financing in the Industry

      • Marketing and Distribution

      • Production in Hollywood Today

        • 3-D Movies: Gimmick or Trend of the Future

        • Foreign Influences on Hollywood Films

        • Maverick Producers and Directors

          • Systems Thinking about Filmmaking Technologies and Production

          • Production Systems Screening Checklist: Filmmaking Technologies and





      • Questions for Review

      • Movies Described or Illustrated in This Chapter

      • For Further Viewing

      • Further Viewing

        • Academy Award Winners for Best Picture

        • Sight & Sound: Top Ten Best Movies of All Time

        • American Movies of All Time American Film Institute: One Hundred Greatest

        • All Time Entertainment Weekly: One Hundred Greatest Movies of

        • Twentieth Century The Village Voice: One Hundred Best Films of the



      • Glossary

      • Further Reading

      • Permissions Acknowledgments

      • Index





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