An Introduction to Film

(Marvins-Underground-K-12) #1

Wexman, Virginia Wright. “Kinesics and Film Acting: Humphrey
Bogart in The Maltese Falconand The Big Sleep.” Journal of
Popular Film and Television7, no. 1 (1978): 42–55.
———. “The Rhetoric of Cinematic Improvisation,” Cinema
Journal20, no. 1 (Fall 1980): 29–41.
Yacowar, Maurice. “Actors as Conventions in the Films of Robert
Altman.” Cinema Journal20, no. 1 (Fall 1980): 14–28.
Zucker, Carole. “The Concept of ‘Excess’ in Film Acting: Notes
toward an Understanding of Non-Naturalistic Performance.”
Post Script: Essays in Film and the Humanities11, no. 2 (Spring
1993): 20–26.
———. “An Interview with Lindsay Crouse,” Post Script: Essays in
Film and the Humanities12, no. 2 (Winter 1993): 5–28.


How Filmmaking Affects Acting
Balázs, Béla. “The Close-Up.” In Film Theory and Criticism:
Introductory Readings. 304–311. Ed. Leo Braudy and Marshall
Cohen. 6th ed. New York: Oxford University Press, 2004.
Salvi, Delia. Friendly Enemies: Maximizing the Director-Actor
Relationship. New York: Billboard, 2003.


Looking at Acting
Kaplan, E. Ann. “The Case of the Missing Mother: Maternal
Issues in Vidor’s Stella Dallas.” In Feminism and Film. 466–479.
Ed. E. Ann Kaplan. New York: Oxford University Press, 2000.
Smith, Ella. Starring Miss Barbara Stanwyck. Rev. ed. New York:
Crown, 1985.
Williams, Linda. “‘Something Else besides a Mother’: Stella
Dallasand the Maternal Melodrama.” In Feminism and Film.
479–504. Ed. E. Ann Kaplan. New York: Oxford University
Press, 2000.


Chapter 8: Editing


What Is Editing?
Andrew, J. Dudley. The Major Film Theories: An Introduction.New
York: Oxford University Press, 1976.
Arnheim, Rudolf. Film as Art. Berkeley: University of California
Press, 1967.
Balázs, Béla. Theory of the Film: Character and Growth of a New Art.
Trans. Edith Bone. New York: Dover, 1970.
Barsam, Richard. Nonfiction Film: A Critical History. Rev. and exp.
ed. Bloomington: Indiana University Press, 1992.
Barsam, Richard, ed. Nonfiction Film: Theory and Criticism. New
York: Dutton, 1976.
Battcock, Gregory. The New American Cinema: A Critical
Anthology.New York: Dutton, 1967.
Bazin, André. “The Evolution of Film Language” and “The
Virtues and Limitations of Montage.” In What Is Cinema?Vol.
I. 23–52. Berkeley: University of California Press, 1967.
Burch, Noël. Theory of Film Practice. Trans. Helen R. Lane. Princeton:
Princeton University Press, 1981.
Carroll, Noël. Theorizing the Moving Image. New York: Cambridge
University Press, 1996.
Dmytryk, Edward. On Film Editing: An Introduction to the Art of
Film Construction.Boston: Focal Press, 1984.
Fairservice, Don. Film Editing—History, Theory, and Practice:
Looking at the Invisible.Manchester: Manchester University
Press, 2001.


Keil, Charlie. Early American Cinema in Transition: Story, Style, and
Filmmaking, 1907–1913.Madison: University of Wisconsin
Press, 2001.
Kuleshov, Lev. Kuleshov on Film: Writings.Ed. and trans. Ronald
Levaco. Berkeley: University of California Press, 1974.
Metz, Christian. Film Language: A Semiotics of the Cinema.Trans.
Michael Taylor. New York: Oxford University Press, 1974.
Nilsen, Vladimir. The Cinema as a Graphic Art (On a Theory of
Representation in the Cinema).Trans. Stephen Garry. New
York: Hill & Wang, 1959.
Nizhny, Vladimir. Lessons with Eisenstein. Ed. and trans. Ivor
Montagu and Jay Leyda. New York: Hill & Wang, 1962.
Pudovkin, V. I. Film Technique[and] Film Acting.Ed. and trans.
Ivor Montagu. Rev. and enl. ed. New York: Grove, 1960.

The Film Editor
Barsam, Richard. “Discover and Disclose: Helen van Dongen and
Louisiana Story.” In Filming Robert Flaherty’s Louisiana Story:
The Helen Van Dongen Diary. 75–89. Ed. Eve Orbanz. New
York: Museum of Modern Art, 1998.
Bordwell, David. The Cinema of Eisenstein. Cambridge, Mass.:
Harvard University Press, 1993.
Bouzereau, Laurent. The Cutting Room Floor. Secaucus, N.J.:
Carol, 1994.
Crofts, Stephen, and Olivia Rose. “An Essay towards Man with a
Movie Camera.” Screen18, no. 1 (Spring 1977): 9–58.
Jacobs, Lewis. “D. W. Griffith.” In The Rise of the American Film: A
Critical History.171–201. New York: Teachers College Press,
1968.
LoBrutto, Vincent. Selected Takes: Film Editors on Editing. New
York: Praeger, 1991.
Murch, Walter. In the Blink of an Eye: A Perspective on Film Editing.
2nd ed. Los Angeles: Silman-James, 2001.
———. “Restoring the Touch of Genius to a Classic [Touch of
Evil].” New York Times(September 6, 1998), sec. 2, pp. 1, 16–17.
Oldham, Gabriella. First Cut: Conversations with Film Editors.
Berkeley: University of California Press, 1992.
Ondaatje, Michael. The Conversations: Walter Murch and the Art of
Editing Film. New York: Knopf, 2002.
O’Steen, Sam. Cut to the Chase: Forty-five Years of Editing
America’s Favorite Movies. Studio City, Calif.: Wiese, 2001.
Petric ́, Vlada. Constructivism in Film: The Man with the Movie
Camera—a Cinematic Analysis. New York: Cambridge
University Press, 1987.
Prince, Stephen, and Wayne E. Hensley. “The Kuleshov Effect:
Recreating the Classic Experiment.” Cinema Journal31, no. 2
(Winter 1992): 59–75.
Rosenblum, Ralph, and Robert Karen. When the Shooting Stops... the
Cutting Begins: A Film Editor’s Story. New York: Penguin, 1980.
Schneider, Arthur. Jump Cut!: Memoirs of a Pioneer Television
Editor. Jefferson, N.C.: McFarland, 1997.
Tsivian, Yuri, Ekaterina Khokhlova, and Kristin Thompson. “The
Rediscovery of a Kuleshov Experiment: A Dossier.” Film
History8, no. 3 (1996): 357–367.
Turim, Maureen. Flashbacks in Film: Memory and History.New
York: Routledge, 1989.

Continuity Editing
Arijohn, Daniel. Grammar of the Film Language. New York: Focal
Press, 1976.

560 FURTHER READING

Free download pdf