Flashback: A Brief Film History / Edition 6

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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.

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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)
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Product Details

  • ISBN-13: 9780205695904
  • Publisher: Pearson
  • Publication date: 7/28/2009
  • Edition description: New Edition
  • Edition number: 6
  • Pages: 552
  • Sales rank: 173,026
  • Product dimensions: 8.40 (w) x 10.80 (h) x 0.70 (d)

Read an Excerpt

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

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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.

Read More Show Less

Preface

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

Read More Show Less

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