EBOOK VS ISE FILM ART AN INTRODUCTION

Title Page Copyright About the Authors Dedication 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. Lumière 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 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 Film Adaptations Writing a Critical Analysis of a Film Additional Resources for Film Art Glossary Index

Film is an art form with a language and an aesthetic all its own. Since 1979 David Bordwell Kristin Thompson and now Co-Author Jeff Smith's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries the authors help students develop a core set of analytical skills that will enrich their understanding of any film in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1000 frame enlargements taken directly from completed films providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking the twelfth edition of Film Art delivers SmartBook first and only adaptive reading experience currently available designed to help students stay focused maximize study time and retain basic concepts.