Film, Form, and Culture w/ DVD-ROM / Edition 3

Other Format (Print)
Rent
Rent from BN.com
$31.78
(Save 75%)
Est. Return Date: 12/01/2014
Buy Used
Buy Used from BN.com
$75.10
(Save 41%)
Item is in good condition but packaging may have signs of shelf wear/aging or torn packaging.
Condition: Used – Good details
Used and New from Other Sellers
Used and New from Other Sellers
from $44.87
Usually ships in 1-2 business days
(Save 64%)
Other sellers (Other Format)
  • All (9) from $44.87   
  • New (2) from $89.95   
  • Used (7) from $44.91   

Overview

This text looks at film from part to whole—from the shot and the cut to the cultural, political, and economic contexts in which films are made. "Teaching Film is about getting control of the image and handing that control over to students," argues author Robert Kolker, and that's just what he does in his teaching and writing about film, including in this outstanding textbook and DVD-ROM package.

The new edition includes more detailed discussion of the shot, composition, editing, and genre; a thorough discussion of the technical and aesthetic changes resulting from film's digital transformation; and a revised discussion of the cultural context of film. The companion interactive DVD-ROM includes segments from classic and contemporary films, with explanatory text, stills, and animations illustrating key film elements and strategies.

Read More Show Less

Product Details

  • ISBN-13: 9780073123615
  • Publisher: McGraw-Hill Higher Education
  • Publication date: 8/2/2005
  • Edition description: New Edition
  • Edition number: 3
  • Pages: 326
  • Sales rank: 414,029
  • Product dimensions: 7.30 (w) x 9.00 (h) x 0.60 (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.

Read More Show Less

Table of Contents

Preface

Introduction


Chapter One: Image and Reality


IMAGES OF IMAGES


The “Truth” of the Image


The Urge to Represent “Reality”

Perspective and the Pleasures of Tricking the Eye

Photography and Reality

Manipulation of the Image

Reality as Image

FROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGE

Moving Images

NOTES AND REFERENCES

Chapter Two: Formal Structures: How Films Tell Their Stories


THE IMAGE, THE WORLD, AND THE FILM STUDIO


From Image to Narrative

THE ECONOMICS OF THE IMAGE


The System Develops: Buster Keaton and Charlie Chaplin

The Growth of Corporate Filmmaking

THE CLASSICAL HOLLYWOOD STYLE


Fabricating the Image

The Whole and Its Parts

Making the Parts Invisible

Story, Plot, and Narration

Convention And Consciousness

Notes and References


Chapter Three: Building Blocks I: The Shot


THE SHOT


COMPOSITION: THE SIZE OF THE FRAME


Cinerama

Anamorphic and “Flat” Wide Screen Processes

Loss of Standards

HOW COMPOSITION WORKS


Composition in Early Cinema

D.W. Griffith

The 90-degree Rule

The Studios and the Shot

MISE-EN-SCÈNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULES

MISE-EN-SCÈNE IN STERNBERG, MURNAU, AND HITCHCOCK

ORSON WELLES AND THE REINVENTION OF COMPOSITION


Deep Focus and The Long Take

WORKING AGAINST THE RULES

LIGHTING AND COLOR

COMPOSING IN WIDE SCREEN

THE MOVING CAMERA

NOTES AND REFERENCES


Chapter Four: Building Blocks II: The Cut


THE DEVELOPMENT OF CONTINUITY CUTTING


Griffith and Cutting

Shot/Reverse Shot

Point Of View

Sight Lines

The 180-degree Rule

CONVENTION, CULTURE, RESISTANCE


Gender

Coding

Responses To Conventional Cutting

Eisensteinian Montage

The Narrative of the Classical Style

Avant-Garde Film

Working Creatively Within and Against Conventions

NOTES AND REFERENCES


Chapter Five: The Story Tellers of Film I


COLLABORATION AS CREATIVITYCREATIVE CRAFTSPEOPLE


Cinematographer

Production Designer

Computer Designer

Sound Designers

Editor

Composer

Screenwriter

Actors

Producer

Notes and References


Chapter Six: The Story Tellers of Film II: The Film Director


EUROPEAN ORIGINS

THE BIRTH OF THE AUTEUR

THE AUTEUR THEORY

Robert Altman

Martin Scorsese

Stanley Kubrick

Alfred Hitchcock


WOMEN AUTEURS


Women’s Avant-garde Films

Maya Deren

Alice Guy-Blaché and Lois Weber

Dorothy Arzner

Ida Lupino

Women Filmmakers Today

Julie Dash, Julie Taymor, and Chantal Akerman


THE AUTEUR ABROAD

AUTEURISM TODAY


NOTES AND REFERENCES


Chapter Seven: Film as Cultural Practice


FILM IN THE REALM OF CULTURE

CULTURE AS TEXT


Subcultures

Media and Cultures

The New Web


THEORIES OF CULTURE


The Frankfurt School

The Critique of American Popular Culture

High Culture, Masscult, and Midcult

Walter Benjamin and the Age of Mechanical Reproduction

The Aura of State Intervention

The Birmingham School of Cultural Studies

Reception and Negotiation

Judgment and Values

Intertextuality and Postmodernism


CULTURAL CRITICISM APPLIED TO VERTIGO AND DIE HARD


The Cultural-Technological Mix: Film and Television

Bruce Willis, TV, and Movies

The Actor’s Persona: Bruce Willis and James Stewart

Vertigo and the Culture of the Fifties

The Kinsey Reports

The Vulnerable Male in Film

Postmodern Villains

Ethnicity in Die Hard

The Buddy Film

The End of Redemption

NOTES AND REFERENCES


Chapter Eight: The Stories Told By Film I


MASTER NARRATIVES AND DOMINANT FICTIONS


Closure

The Master and the Dominant

Narrative Constraints

Censorship


GENRE


Subgenres

Genre and Gesture

Generic Origins

Generic Patterns: The Gangster Film

Genre and Narrative Economy


DOCUMENTARY


Newsreels and Television

Early Masters of the Documentary

Dziga Vertov and Esther Shub

Robert Flaherty

Pare Lorentz

Leni Riefenstahl

John Grierson and the British Documentary Movement

World War II

Cinéma Vérité

Television Documentary


THE GENRES OF FICTION FILMS


Melodrama

Broken Blossoms

Now, Voyager

Casablanca

Film Noir

Expressionist Roots of Noir

Hard-Boiled Fiction

The Maltese Falcon

Murder, My Sweet; Double Indemnity; Scarlet Street

Anthony Mann

Noir’s Climax

In A Lonely Place

The Wrong Man

Kiss Me Deadly

Touch of Evil

Noir’s Rebirth

NOTES AND REFERENCES


Chapter Nine: The Stories Told By Film II


OTHER GENRES: THE WESTERN


The Landscape

The Obstacles to Westward Expansion

The Western Star and the Western Director

The Western After the Fifties


SCIENCE FICTION


Fritz Lang’s Metropolis

Alien and Blade Runner

Science Fiction in the Fifties

2001: A Space Odyssey


GENRE RESILIENCE


EUROPEAN AND OTHER CINEMAS


Italian Neorealism

Bicycle Thieves

Neorealism in America

The French New Wave

Jean-Luc Godard

Michelangelo Antonioni

Yasujiro Ozu

DOUGLAS SIRK, RAINER WERNER FASSBINDER, AND TODD HAYNES: ONE GENRE, THREE WAYS


The Filmmakers

The Common Thread

That Heaven Allows and Far From Heaven

Race

Gender

Fassbinder—Ali: Fear Eats the Soul

The Influence of Bertolt Brecht

The Gaze

Fassbinder’s Narrative

Happiness is Not Always Fun

BRIEF CONCLUSIONS

NOTES AND REFERENCES

Glossary

Index

DVD-ROM Contents
Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)