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More About This Textbook
Overview
Consolidating major figures and film movements into their decade of greatest influence or prestige, this “no-nonsense” book offers a generously illustrated, concise, and very readable history of fiction movies with an emphasis on American cinema. Eclectic in methodology and written in a plain English style that audiences can relate to, it examines the full scope of traditional film history and criticism, viewing film as both an art and an industry— as it mirrors popular audience values, social ideologies, and historical epochs.
A visual guide to past and present trends and criticism of cinema, this history of narrative film concentrates on major figures, film movements, and the context of production.
Editorial Reviews
Booknews
A history of cinema, emphasizing American cinema, chock-full of b&w photos from films. Chapters explore American, European and international cinema by decades, the Hollywood studio system, new genres and technological advances, societal influences, and major filmmakers. Includes chapter timelines, descriptions of representative films, and a glossary. Annotation c. Book News, Inc., Portland, OR (booknews.com)Product Details
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Read an Excerpt
Preface
WE SET OUT TO WRITE A REALLY BRIEF BOOK. Just the basics, no frills. After considerable deliberation, we finally decided on a mechanical form of organization by decade. We then proceeded to cheat left and right, cramming major figures and film movements into their decade of greatest influence or prestige. Here, then, is a bare-bones history of fiction movies, copiously illustrated with photos, many of them rarely reprinted. Since this book was written primarily with an American audience in mind, we have emphasized the American cinema. Eclectic in our methodology, we have adhered to a broad consensus tradition of film history and criticism; except for a humanist bias, we have had no theoretical axes to grind. Nor have we attempted to dazzle the reader with a fresh array of jargon; the text is in plain English, with essential terms in boldface to indicate that they are defined in the glossary. Our main concern has been with film as art, but when appropriate we also discuss film as industry and as a reflection of popular audience values, social ideologies, and historical epochs. History books are filled with value judgments, and this one is no exception. We have not hesitated to call a bomb a bomb. On the whole, however, our attitude has been similar to that of Andre Breton, the founder of the surrealist movement, who said, "The cinema? Three cheers for darkened rooms."
Acknowledgments
We gratefully acknowledge the input received from the following reviewers of the manuscript: Marilyn K. Ackerman, Foot Hill College; Susan Scrivner, Bemidji State University; Jack Riggs, Dekalb College-Gwinnett Campus; and Davis A. March,Rowan Cabarrus Community College.
Others who have helped us include Jonathan Forman of Cleveland Cinemas; Dave Wittkowsky of the Cleveland Film Society and International Film Festival; and the CWRU Observer. Mary Araneo performed her customary miracles in her layout design, Lisa Sloane went beyond the call of duty in designing the cover, and Phil Miller of Prentice Hall expedited matters by being sane and rational. We thank them all.
LOUIS GIANNETTI
SCOTT EYMAN
Table of Contents
Preface
1. Beginnings.
2. Griffith and His Contemporaries: 1908—1920.
3. American Cinema in the 1920s.
Major Filmmakers
Talkies
4. European Cinema in the 1920s.
Soviet Union
Germany
France
5. The Hollywood Studio System: 1925-1955
The Box Office
The Studio System
The Star System
The System of Genres
6. American Cinema in the 1930s.
The Talkie Era
New Genres: Gangster Pictures, Musicals, Screwball Comedy
Major Filmmakers
7. European Cinema in the 1930s.
Germany
Great Britian
France
8. American Cinema in the 1940s.
Decline of the Studio System
World War II
Major Filmmakers
Film Noir and Postwar Realism
9. European Cinema in the 1940s.
Germany
France
Soviet Union
Great Britian
Italy
10. American Cinema in the 1950s.
New Screens
The Red Scare
Social Realism
Method Acting
Major Filmmakers
11. International Cinema in the 1950s.
Japan
Ingmar Bergman
Federico Fellini
France
12. American Cinema in the 1960s.
The Bloated Era
Major Filmmakers
New Directions
13. International Cinema in the 1960s.
France
Great Britian
Italy
Eastern Europe
14. American Cinema in the 1970s.
The Vietnam-Watergate Era
The New Cinema
Major Figures
15. International Cinema in the 1970s.
Great Britian
France
West Germany
Italy
Eastern Europe
Australia
The Third World
16. American Cinema in the 1980s.
Technology and the Marketplace
The Reagan Era
The Mainstream
The Mavericks
17. International Cinema in the 1980s.
Great Britian
Western Europe
U.S.S.R. and Eastern Europe
The Third World
Japan
18. American Cinema in the 1990s.
The Hollywood Studios
The Bright Side
Major Filmmakers
The Independent Cinema
19. International Cinema in the 1990s.
Hollywood Uber Alles
Great Britian
Ireland
Continental Europe
Emerging Cinemas
Australia and New Zealand
20. American Cinema Since 2000.
Major Figures
Emerging Artists
21. International Cinema Since 2000.
Europe
Islamic Cinema
Hong Kong/China, and Japan
United States
Latin America
Glossary
Index
Glossary.
Index.
Preface
Preface
WE SET OUT TO WRITE A REALLY BRIEF BOOK. Just the basics, no frills. After considerable deliberation, we finally decided on a mechanical form of organization by decade. We then proceeded to cheat left and right, cramming major figures and film movements into their decade of greatest influence or prestige. Here, then, is a bare-bones history of fiction movies, copiously illustrated with photos, many of them rarely reprinted. Since this book was written primarily with an American audience in mind, we have emphasized the American cinema. Eclectic in our methodology, we have adhered to a broad consensus tradition of film history and criticism; except for a humanist bias, we have had no theoretical axes to grind. Nor have we attempted to dazzle the reader with a fresh array of jargon; the text is in plain English, with essential terms in boldface to indicate that they are defined in the glossary. Our main concern has been with film as art, but when appropriate we also discuss film as industry and as a reflection of popular audience values, social ideologies, and historical epochs. History books are filled with value judgments, and this one is no exception. We have not hesitated to call a bomb a bomb. On the whole, however, our attitude has been similar to that of Andre Breton, the founder of the surrealist movement, who said, "The cinema? Three cheers for darkened rooms."
Acknowledgments
We gratefully acknowledge the input received from the following reviewers of the manuscript: Marilyn K. Ackerman, Foot Hill College; Susan Scrivner, Bemidji State University; Jack Riggs, Dekalb College-Gwinnett Campus; and Davis A.March,Rowan Cabarrus Community College.
Others who have helped us include Jonathan Forman of Cleveland Cinemas; Dave Wittkowsky of the Cleveland Film Society and International Film Festival; and the CWRU Observer. Mary Araneo performed her customary miracles in her layout design, Lisa Sloane went beyond the call of duty in designing the cover, and Phil Miller of Prentice Hall expedited matters by being sane and rational. We thank them all.
LOUIS GIANNETTI
SCOTT EYMAN