Film Art: An Introduction with Tutorial CD-ROM / Edition 8

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Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell's and Kristin Thompson's Film Art has been the best-selling and widely respected introduction to the analysis of cinema.

While it continues to provide the best introduction to the fundamentals of serious film study, the eighth edition has been revised be more classroom friendly by introducing film techniques earlier in the text, followed by the chapters on Film Genres. Supported by a text-specific Tutorial CD-ROM with video clips, Film Art is automatically packaged with this outstanding student learning tool.

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Product Details

  • ISBN-13: 9780073310275
  • Publisher: McGraw-Hill Companies, The
  • Publication date: 11/27/2006
  • Edition description: REV
  • Edition number: 8
  • Pages: 576
  • Product dimensions: 8.50 (w) x 10.80 (h) x 0.82 (d)

Meet the Author

David Bordwell is Jacques Ledoux Professor of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate from the University of Iowa. He is the author of The Films of Carl Theodor Dreyer (University California Press, 1981), Narration in the Fiction Film (University Wisconsin Press, 1985), Ozu and the Poetics of Cinema (British Film Institute/Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997) and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000). He has won a University Distinguished Teaching Award.

Kristin Thompson is an Honorary Fellow at the University of Wisconsin - Madison. She holds a master's degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin - Madison. She has published Eisenstein's Ivan the Terrible (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. Heinman, 1992), Storytelling in the New Hollywood (Harvard University Press, 1999), Storytelling in Film and Television (Harvard University Press, 2003), and Herr Lubitsch Goes to Hollywood: German and American Film after World War I (University of Amsterdam, 2005). In her spare timeshe studies Egyptology.

The authors have collaborated on Film History (McGraw-Hill, 1994) with Janet Staiger, on The Classical Hollywood Cinema (Columbia University Press, 1985) and Storytelling in the New Hollywood (Harvard University Press, 1999).

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Table of Contents

Preface     xvii
Film Art and Filmmaking
Film as Art: Creativity, Technology, and Business     2
Film Artistry in Shadow of a Doubt     3
Box: A Closer Look: Picking out Patterns     8
Mechanics of the Movies     10
Illusion Machined     10
Making the Movie: Film Production     14
The Scriptwriting and Funding Phase     15
The Preparation Phase     16
Shooting Phase     17
The Assembly Phase     21
Box: A Closer Look: Some Terms and Roles in Film Production     22
Artistic Implications of the Production Process     25
Modes of Production     25
Large-Scale Production     25
Exploitation and Independent Production     26
Small-Scale Production     28
Artistic Implications of Different Modes of Production     29
Box: A Closer Look: Convergences: Film and Video     30
Bringing the Film to the Audience: Distribution and Exhibition     34
Distribution: The Center of Power     34
Exhibition: Theatrical and Nontheatrical     39
Box: Movies on Screen: A 2004 Profile of Theatrical Exhibition     41
Artistic Implications of Distribution and Exhibition     42
Summary     47
Where to Go from Here     47
Websites     50
Recommended DVDs     50
Recommended DVD Supplements     50
Film Form
The Significance of Film Form     54
The Concept of Form in Film     54
Form as System     54
"Form" Versus "Content"     56
Formal Expectations     56
Conventions and Experience     58
Form and Feeling     59
Form and Meaning     60
Evaluation     63
Principles of Film Form     65
Function     65
Similarity and Repetition     66
Difference and Variation     67
Development     68
Unity and Disunity     70
Summary     71
Where to Go from Here     72
Websites     73
Recommended DVD Supplements     73
Narrative as a Formal System     74
Principles of Narrative Construction     74
Plot and Story     76
Cause and Effect     77
Time     80
Space     82
Box: A Closer Look: Playing Games with Story Time      83
Openings, Closings, and Patterns of Development     86
Narration: The Flow of Story Information     88
Range of Story Information     88
Depth of Story Information     90
The Narrator     92
Summing Up Narration     93
The Classical Hollywood Cinema     94
Narrative Form in Citizen Kane     96
Overall Narrative Expectations in Citizen Kane     96
Plot and Story m Citizen Kane     97
Citizen Kane's Causality     99
Time in Citizen Kane     99
Motivation Citizen Kane     102
Citizen Kane's Parallelism     103
Patterns of Plot Development in Citizen Kane     103
Narration in Citizen Kane     104
Summary     107
Where to Go from Here     107
Websites     109
Recommended DVD Supplements     109
Film Style
The Shot: Mise-en-Scene     112
What Is Mise-en-Scene?     112
Aspects of Mise-en-Scene     115
Setting     115
Costume and Makeup     119
Lighting     124
Staging: Movement and Performance     132
Box: A Closer Look: The Film Actor's Toolkit     134
Putting It All Together: Mise-en-Scene in Space and Time     140
Space     142
Time     149
Narrative Functions of Mise-en-Scene in Our Hospitality     153
Summary     158
Where to Go from Here     158
Websites     160
Recommended DVD Supplements     160
The Shot: Cinematography     162
The Photographic Image     162
The Range of Tonalities     162
Speed of Motion     166
Perspective     168
Box-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Rings     179
Framing     182
Frame Dimensions and Shape     183
Box: A Closer Look: Common Aspect Ratios of 35mm Film     184
Onscreen and Offscreen Space     187
Angle, Level, Height, and Distance of Framing     190
The Mobile Frame     194
Duration of the Image: The Long Take     207
Functions of the Long Take     208
The Long Take and the Mobile Frame     210
Summary     214
Where to Go from Here     214
Websites     216
Recommended DVD Supplements      216
The Relation of Shot to Shot: Editing     218
What Is Editing?     218
Dimensions of Film Editing     220
Graphic Relations Between Shot A and Shot B     221
Rhythmic Relations Between Shot A and Shot B     226
Spatial Relations Between Shot A and Shot B     227
Temporal Relations Between Shot A and Shot B     229
Continuity Editing     231
Spatial Continuity: The 180[Degrees] System     231
Continuity Editing in The Maltese Falcon     234
Continuity Editing: Some Fine Points     238
More Refinements: Crossing the Axis of Action     242
Crosscutting     244
Temporal Editing: Order, Frequency, and Duration     245
Box: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editing     246
Alternatives to Continuity Editing     251
Graphic and Rhythmic Possibilities     251
Spatial and Temporal Discontinuity     252
Functions of Discontinuity Editing: October     257
Summary     260
Where to Go from Here     261
Websites     263
Recommended DVD Supplements     263
Sound in the Cinema      264
The Powers of Sound     265
Fundamentals of Film Sound     267
Perceptual Properties     267
Selection, Alteration, and Combination     268
Dimensions of Film Sound     275
Rhythm     275
Fidelity     278
Space     278
Box: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown     280
Time     287
Functions of Film Sound: A Man Escaped     293
Fontaine's Commentary     293
Sound Effects and Narration     294
Sound Motifs     295
Music     296
A Sample Sequence     296
Summary     300
Where to Go from Here     301
Websites     303
Recommended DVD Supplements     303
Summary: Style as a Formal System     304
The Concept of Style     304
Style and the Filmmaker     304
Style and the Viewer     305
Analyzing Film Style     306
Determine the Organization Structure     306
Identify the Salient Techniques Used     306
Trace Out Patterns of Techniques     307
Propose Functions for the Salient Techniques and the Patterns They Form     308
Style in Citizen Kane     309
Summary     316
Where to Go from Here     316
Recommended DVD Supplements     316
Types of Films
Film Genres     318
Understanding Genre     318
Defining a Genre     318
Analyzing a Genre     320
Genre History     321
Box: A Closer Look: A Contemporary Genre: The Crime Thriller     322
The Social Functions of Genres     326
Three Genres     328
The Western     328
The Horror Film     329
The Musical     332
Summary     336
Where to Go from Here     336
Websites     337
Recommended DVD Supplements     337
Documentary, Experimental, and Animated Films     338
Documentary     338
What Is a Documentary?     338
Types Documentary     340
The Boundaries Between Documentary and Fiction     341
Types of Form in Documentary Films     342
Categorical Form     343
Rhetorical Form     348
Experimental Film     355
Types of Form in Experimental Films     356
Abstract Form     356
Associational Form     363
The Animated Film     370
An Example of Narrative Animation: Duck Amuck     373
An Example of Experimental Animation: Fuji     375
Summary     378
Where to Go from Here     378
Websites     380
Recommended DVD Supplements     381
Critical Analysis of Films
Film Criticism: Critical Analyses     384
The Classical Narrative Cinema     385
His Girl Friday     385
North by Northwest     388
Do The Right Thing     392
Narrative Alternatives to Classical Filmmaking     397
Breathless (A Bout de Souffle)     397
Tokyo Story (Tokyo Monogatari)     401
Chungking Express (Chung Hing sam lam)     405
Documentary Form and Style     410
Man with a Movie Camera (Chelovek s kinoapparatom)     410
The Thin Blue Line     413
Form, Style, and Ideology     419
Meet Me in St. Louis     419
Raging Bull     426
Writing a Critical Analysis of a Film     431
Preparing to Write     431
Develop a Thesis That Your Essay Will Explain and Support     431
Draw Up a Segmentation of the Entire Film     431
Note Outstanding Instances of Film Technique     432
Organizing and Writing     433
Summary     434
Sample Essay: Fantasy and Reality in The King of Comedy     435
Where to Go from Here     437
Sample-Analysis Films on DVD     438
Film History
Film Art and Film History     440
Early Cinema (1893-1903)     441
The Development of the Classical Hollywood Cinema (1908-1927)     444
German Expressionism (1919-1926)     447
French Impressionism and Surrealism (1918-1930)     450
Impressionism     450
Surrealism     452
Soviet Montage (1924-1930)     453
The Classical Hollywood Cinema After the Coming of Sound     456
Italian Neorealism (1942-1951)     459
The French New Wave (1959-1964)     461
The New Hollywood and Independent Filmmaking     463
Contemporary Hong Kong Cinema     468
Where to Go from Here     472
Recommended DVDs     474
Recommended DVD Supplements     476
Glossary     477
Credits      482
Index     483
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  • Anonymous

    Posted December 13, 2007

    A reviewer

    Film Art, which really does get better from one edition to the next, is nevertheless readable and useful in every edition. If you live in a university town with film courses and with 2nd hand bookstores, you'll likely find editions from the first to this one on sale at one point or another. Bordwell wrote the definitive text on Narrative in Film as well. Film Art, lavishly and intelligently illustrated, takes you through all the aspects of film making, from the basic to the profound. I've picked up both the 2nd and 7th editions and the improvement in the 7th is remarkable. Not always the case with books primarily used as texts in courses. Many of the points made in the text are illustrated, as well they should be in a book about film art. Use some film, heck, yeah. This is a text, though. It's not the easyglide reading of a popular book on film. It's meant to impart a thorough understanding of film from camera angles to plotting.

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