ISBN-10:
0393932796
ISBN-13:
2900393932798
Pub. Date:
10/01/2009
Publisher:
Norton, W. W. & Company, Inc.
Looking at Movies: An Introduction to Film / Edition 3

Looking at Movies: An Introduction to Film / Edition 3

by Richard Barsam
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  • Product Details

    ISBN-13: 2900393932798
    Publisher: Norton, W. W. & Company, Inc.
    Publication date: 10/01/2009
    Edition description: Third Edition
    Pages: 624
    Product dimensions: 6.00(w) x 1.25(h) x 9.00(d)

    About the Author

    Richard Barsam (Ph.D., University of Southern California) is Professor Emeritus of Film Studies at Hunter College, City University of New York. He is the author of Nonfiction Film: A Critical History (rev., exp. ed. 1992), The Vision of Robert Flaherty: The Artist as Myth and Filmmaker (1988), In the Dark: A Primer for the Movies (1977), and Filmguide to "Triumph of the Will" (1975); editor of Nonfiction Film Theory and Criticism (1976); and contributing author to Paul Monaco’s The Sixties: 1960–1969 (Vol. 8, History of the American Cinema, 2001) and Filming Robert Flaherty’s "Louisiana Story": The Helen Van Dongen Diary (ed. Eva Orbanz, 1998). His articles and book reviews have appeared in Cinema Journal, Quarterly Review of Film Studies, Film Comment, Studies in Visual Communication, and Harper’s. He has been a member of the Executive Council of the Society for Cinema and Media Studies, the Editorial Board of Cinema Journal, and the Board of Advisers of the History of American Cinema series, and he cofounded the journal Persistence of Vision.

    Dave Monahan (M.F.A., Columbia University) is Associate Professor and Chair of Film Studies at the University of North Carolina, Wilmington. His work as a writer, director, or editor includes Ringo (2005), Monkey Junction (2005), Prime Time (1996), and Angels Watching Over Me (1993). His work has been screened internationally in over fifty film festivals and has earned numerous awards, including the New Line Cinema Award for Most Original Film (Prime Time) and the Seattle International Film Festival Grand Jury Prize for Best Animated Short Film (Ringo).

    Table of Contents

    To Students
    Preface
    Acknowledgments

    1. WHAT IS A MOVIE?

    FUNDAMENTAL PRINCIPLES

    Movies Manipulate Space and Time in Ways That Other
    Art Forms Cannot
    Movies Depend on Light
    Movies Provide an Illusion of Movement
    Movies Can Depict Worlds Convincingly
    Movies Generally Result from a Complex, Expensive, and Highly Collaborative Process

    TYPES OF MOVIES

    Nonfiction Films
    Narrative Films
    Animated Films
    Experimental Films

    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    A NOTE ON "CASE STUDIES"
    FOR FURTHER READING

    2. FORM AND NARRATIVE

    WHAT IS FORM?
    PRINCIPLES OF FILM FORM
    Form and Expectations
    Form and Patterns
    Form and Themes
    Coherence, Progression, and Unity and Balance
    WHAT IS NARRATIVE?
    Telling the Story
    ELEMENTS OF NARRATIVE
    Story and Plot
    Order
    Events: Hubs and Satellites
    Duration
    Suspense versus Surprise
    Frequency
    Characters
    Setting
    Point of View
    Scope
    ANALYZING NARRATIVE
    John Ford's Stagecoach
    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    FOR FURTHER READING

    3. MISE-EN-SCÈNE AND DESIGN

    WHAT IS MISE-EN-SCÈNE?
    COMPOSITION AND MISE-EN-SCÈNE
    Framing: What We See on the Screen
    Kinesis: What Moves on the Screen
    ANALYZING MISE-EN-SCÈNE
    Jean Renoir's The Rules of the Game
    WHAT IS DESIGN?
    PROCESS AND ELEMENTS OF DESIGN
    Roles of the Art Director and the Production Designer
    Setting
    Lighting
    Costume, Makeup, and Hairstyle
    International Styles and Development
    ANALYZING DESIGN
    Todd Solondz's Happiness
    Sam Mendes's American Beauty
    Michael Almereyda's Hamlet
    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    FOR FURTHER READING

    4. CINEMATOGRAPHY

    WHAT IS CINEMATOGRAPHY?
    THE DIRECTOR OF PHOTOGRAPHY
    The D.P.'s Responsibilities
    CINEMATOGRAPHIC PROPERTIES OF THE SHOT
    Film Stock
    Lighting
    Lenses
    FRAMING OF THE SHOT
    Visualization and Composition
    Types of Shots
    Depth
    Camera Angle and Height
    Scale
    Camera Movement
    SPEED AND LENGTH OF THE SHOT
    SPECIAL EFFECTS CINEMATOGRAPHY
    ANALYZING CINEMATOGRAPHY
    Terrence Malick's Days of Heaven
    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    FOR FURTHER READING

    5. ACTING

    WHAT IS ACTING?
    The Paradox of Acting
    Early Screen-Acting Styles
    D. W. Griffith and Lillian Gish
    Konstantin Stanislavsky and Method Acting
    Bertolt Brecht
    The Influence of Sound
    Movie Stars in the Golden Age of Hollywood
    Screen Acting Today
    CASTING ACTORS
    Factors Involved in Casting
    ASPECTS OF PERFORMANCE
    Types of Roles
    Preparing for Roles
    Naturalistic and Nonnaturalistic Styles
    Improvisational Acting
    Directors and Actors
    HOW FILMMAKING AFFECTS ACTING
    Framing, Composition, Lighting, and the Long Take
    The Camera and the Close-Up
    ANALYZING ACTING
    Barbara Stanwyck in King Vidor's Stella Dallas
    Maggie Smith in Jack Clayton's The Lonely Passion of Judith Hearne
    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    FOR FURTHER READING

    6. EDITING

    WHAT IS EDITING?
    Continuity Editing
    Discontinuity Editing
    THE EDITOR'S RESPONSIBILITIES
    Spatial, Temporal, and Visual Relationships between
    Individual Shots
    Rhythm
    Mood
    Ellipsis
    Separation
    Pattern
    Slow Disclosure
    CONVENTIONS OF EDITING
    Establishing Shot
    Match Cut
    Point-of-View Editing
    Parallel Editing
    Shot/Reverse Shot
    Jump Cut
    Fade-In and Fade-Out
    Dissolve
    Wipe
    Iris-In and Iris-Out
    Flashback and Flashforward
    Freeze Frame
    Split-Screen
    Montage
    Conventions of Editing in Mark Sandrich's Top Hat
    EDITING AND POSTPRODUCTION
    THE EDITOR'S TOOLS
    Editing with Rudimentary Equipment and with Upright and Flatbed Machines
    Linear Editing with Videotape
    Nonlinear Digital Editing with Computerized Equipment
    ANALYZING FILM EDITING
    D. W. Griffith's Birth of a Nation
    Buster Keaton's Sherlock, Jr.
    Sergei Eisenstein's Battleship Potemkin
    Leni Riefenstahl's Olympia
    Orson Welles's Citizen Kane
    Elia Kazan's On the Waterfront
    Alfred Hitchcock's Psycho
    Sidney Lumet's The Pawnbroker
    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    FOR FURTHER READING

    7. SOUND

    WHAT IS SOUND?
    PHYSICAL AND PERCEPTUAL CHARACTERISTICS OF SOUND
    SOURCES OF FILM SOUND
    Diegetic or Nondiegetic
    Internal or External
    Onscreen or Offscreen
    Synchronous or Asynchronous
    Production or Postproduction
    TYPES OF FILM SOUND
    Vocal Sounds (Dialogue and Narration)
    Environmental Sounds (Ambient Sound and Sound Effects)
    Music
    Silence
    FUNCTIONS OF FILM SOUND
    Audience Awareness
    Audience Expectations
    Rhythm
    Character
    Fidelity
    Continuity
    Emphasis
    Juxtaposition
    Montage
    SOUND VERSUS SILENCE
    Technological Challenges
    Commercial Challenges
    Aesthetic Challenges
    SOUND PRODUCTION
    Design
    Recording
    Editing
    Mixing
    ANALYZING FILM SOUND
    Orson Welles's Citizen Kane
    QUESTIONS FOR REVIEW
    QUESTIONS FOR ANALYSIS
    FOR FURTHER READING

    8. WRITING ABOUT MOVIES

    JOINING THE CRITICAL CONVERSATION ABOUT MOVIES
    FUNDAMENTAL TECHNIQUES
    Summarizing Plot
    Analyzing Shots, Scenes, and Sequences
    Taking Notes
    Taking Advantage of Tape, DVD, and the Internet
    Writing Descriptively
    Making an Argument
    Incorporating Sources
    ASSIGNMENTS AND STRATEGIES
    Critical Analysis
    Movie Review versus Critical Analysis
    Research Paper
    EXPLICIT, IMPLICIT, AND IDEOLOGICAL MEANINGS
    GENRE STUDY
    CRITICAL AND THEORETICAL APPROACHES
    Interpretive Frameworks
    Auteurism
    Psychological Criticism
    Ideological Criticism
    APPLIED READINGS
    Die Hard: Mimicry and Catharsis
    Die Hard: Binary Oppositions
    Wall Street: Freudianism
    Vertigo: Cognitive Psychology
    Rear Window: Auteurism
    Metropolis: Marxism
    Thelma and Louise: Feminism
    Repo Man: Cultural Studies
    THE WRITING PROCESS
    Prewriting: Discovering What You Want to Say
    Generating Text
    Revising

    FOR FURTHER READING

    SAMPLE STUDENT PAPER: "MODERN INDEMNITY" BY JAMES ARNETT

    APPENDIX: OVERVIEW OF HOLLYWOOD PRODUCTION SYSTEMS

    THE STUDIO SYSTEM

    Organization before 1931
    Organization after 1931
    Organization During the Golden Age
    Decline of the Studio System

    THE INDEPENDENT SYSTEM

    Financing in the Industry
    Marketing and Distribution

    FOR FURTHER READING AND VIEWING

    Glossary

    Permissions and Acknowledgements

    Index

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