Film, Form, and Culture CD-ROM 1.03

Overview

The Film, Form, and Culture CD-ROM serves as a multimedia glossary or dictionary to ANY film text. It is available separately, and it can be packaged at a discount with any McGraw-Hill film title.

The CD-ROM illustrates film elements and concepts with QuickTime clips from a wide variety of classic films: Citizen Kane, Battleship Potemkin, Rear Window, The Plow That Broke the Plains, Vertigo, and many more. ...
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Overview

The Film, Form, and Culture CD-ROM serves as a multimedia glossary or dictionary to ANY film text. It is available separately, and it can be packaged at a discount with any McGraw-Hill film title.

The CD-ROM illustrates film elements and concepts with QuickTime clips from a wide variety of classic films: Citizen Kane, Battleship Potemkin, Rear Window, The Plow That Broke the Plains, Vertigo, and many more. This new version adds modules on Sound and Genre to provide an even stronger tool for film study.
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Product Details

  • ISBN-13: 9780072388992
  • Publisher: McGraw-Hill Companies, The
  • Publication date: 7/30/2001
  • Edition description: REV
  • Edition number: 2
  • Pages: 2
  • Product dimensions: 5.60 (w) x 4.90 (h) x 0.40 (d)

Meet the Author

Robert Kolker has taught film studies for over thirty years. He is the author of several books on film. A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman, published by Oxford University Press, is in its third edition. His book on European film, The Altering Eye, is now on the World Wide Web at http://otal.umd.edu/~rkolker/AlteringEye. He has recently published a "casebook" of criticism on Hitchcock's Psycho, and a companion collection of new essays on Kubrick's 2001: A Space Odyssey. He is editor of Oxford University Press's Handbook of Film and Media Studies and is currently writing a book on the films of Orson Welles and Stanley Kubrick.
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Table of Contents

INTRODUCTION

1. CONTINUITY EDITING

2. THE LONG TAKE—Orson Welles and the Construction of Cinematic Space

3. MONTAGE—Sergei Eisenstein and the Dynamics of Editing

4. POINT OF VIEW—The Look and the Gaze

5. MISE-EN-SCÈNE—Frame, Space, and Story

6. LIGHTING—The Expressive Substance of Film

7. CAMERA—Framing, Placement, and Movement

8. MUSIC—Sound and Image

9. GENRE

10. SOUND

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