THE NEW FILM INDEX

TO THE READER = ⅸ ABBREVIATIONS OF MAGAZINES INDEXED = xv 1. INTRODUCTION AND REFERENCE a. EDUCATION ABOUT FILMS = 1 (1) Film Societies = 3 (2) Institutes, Museums, Academies = 5 (3) Film Study in Universities = 7 (a) U.S. Theory and Practice = 7 (b) Production Training and Student Films = 10 (c) International Film Schools = 12 (4) High Schools and Grade Schools = 15 (5) Special Projects in Film Education = 16 b. REFERENCE RESOURCES = 17 (1) Bibliographies = 17 (2) Film Periodicals = 18 (3) Film Archives = 19 (4) Public Library Film Collections = 20 2. MOTION-PICTURE ARTS AND CRAFTS a. GENERAL = 23 (1) Producers and Production Managers = 24 (2) Agents = 25 (3) Women Producers, Directors, Technicians = 26 (4) Producers and Directors from Minority Groups = 26 (5) Development of New Talent = 27 b. ACTORS AND ACTING = 27 (1) Theory, Practice, and Styles of Acting = 29 (2) Stars and the Star System = 30 (3) Actors' Salaries and Working Conditions = 33 (4) Discovering Acting Talent = 34 (5) Actors' Training = 36 (6) Specialized Performers = 36 (7) Actors from Minority Groups = 37 (8) Dancers and Singers = 37 (9) Extra Players and Stand-Ins = 38 (10) Child Actors = 38 (11) Animal Actors = 40 c. DIRECTORS AND DIRECTING = 41 d. WRITERS AND WRITING = 44 (1) Writers' Status in the Industry = 49 (2) Story Editors, Script Marketing, Rights = 51 (3) Writers' Organizations = 53 (4) Scripts and Extracts = 54 (5) Titles and Subtitles = 56 e. CINEMATOGRAPHY AND LIGHTING = 57 (1) Technical Aspects of Camera Work = 58 (2) Color = 59 f. EDITING = 60 g. SOUND = 62 (1) Technical Aspects of Sound = 63 (2) Music for Films = 63 (a) Theory and Function of Music = 65 (b) History of Music = 66 (c) Technical Aspects of Music = 66 (d) Case Studies and Criticism = 67 (3) Dubbing = 68 h. ANIMATION = 68 (1) History and Theory of Animation = 69 (2) Technical Aspects of Animation = 70 (3) Disney Studio = 70 (4) UPA and Other American Studios = 72 (5) International Developments = 73 (6) Puppets and Other Techniques = 74 (7) Title Design = 74 i. ACTORS' SERVICES = 75 (1) Costumes = 75 (2) Makeup = 75 j. SPECIAL TECHNICAL SERVICES = 76 (1) Special Effects = 76 (2) Properties = 77 (3) Stunts = 78 (4) Research and Technical Advice = 79 k. PRODUCTION DESIGN AND ART DIRECTION = 79 (1) Set Designs = 80 (2) Sets and Scenery = 81 (3) Ships = 82 (4) Locations = 82 m. PROJECTION TECHNIQUES = 83 (1) History and Theory = 84 (2) Third Dimension = 85 (3) Wide Screen = 86 (4) Theatre Television = 87 3. FILM THEORY AND CRITICISM a. THEORY = 89 (1) Technical Aspects of Theory = 93 (2) Problems of Realism = 95 (3) The Auteur Theory = 98 (4) Art and Entertainment = 99 (5) Montage, Signs, and Mise-en-Scène = 100 (6) Social and Political Goals = 102 b. CRITICISM = 106 (1) Individual Critics = 111 (2) Contemporary Film Trends = 114 (3) Criticism and Defense of Hollywood = 118 (4) Satirical Views = 121 c. EXTENDED ANALYSIS OF SINGLE FILMS = 122 d. AWARDS, FESTIVALS, AND FAIRS = 136 e. SELECTIVE LISTS OF FILMS = 139 f. RELATIONS WITH OTHER ARTS = 140 (1) Theater and Film = 140 (a) Stage and Screen Acting = 142 (b) Plays and Screenplays = 143 (2)Literature and Film = 144 (3)Painting, Sculpture, Graphic Arts = 150 4. FILM HISTORY a. GENERAL = 151 (1) Historical Method = 151 (2) Industry and Audience = 153 (3) Surveys of Films, U.S. and Others = 154 (4) Specialized Aspects = 155 (a) Prehistory and Inventions = 155 (b) Problems of Preservation = 157 (5) Shorts and Serials = 157 b. SILENT PERIOD = 159 c. TRANSITION TO SOUND = 162 d. U.S. SINCE 1930 = 163 (1) Studio Histories = 167 (2) Independent Production = 168 e. EUROPE SINCE 1930 = 169 (1) Great Britain and Ireland = 170 (a) Historical Surveys = 172 (b) Critical Studies of British Cinema = 173 (c) Economic Status of the Industry = 175 (d) Individual Companies = 180 (e) Censorship and Morality = 181 (f) Subsidies and Quotas = 183 (g) Ireland = 184 (2) France and Belgium = 184 (a) Historical and Critical Surveys = 185 (b) "New Wave" (1959) and After = 187 (c) Economic Status of the Industry = 188 (d) Censorship = 189 (3) Italy = 189 (a) Historical and Critical Surveys = 190 (b) Neorealism and After = 190 (c) Films in the 1960s = 192 (d) Economic Status of the Industry = 193 (e) Censorship = 193 (4) Germany, Austria, Holland, Switzerland = 193 (a) German Silent Films = 194 (b) Nazi period = 194 (c) West Germany Since World War 11 = 195 (5) Scandinavia = 197 (a) Denmark = 197 (b) Sweden = 198 (c) Censorship = 199 (6) Spain and Portugal = 199 (7) Greece = 199 (8) Russia = 199 (a) Historical and Critical Surveys = 201 (b) Trends Since World War Ⅱ = 202 (9) Eastern Europe (a) Poland = 205 (b) Czechoslovakia = 206 f. ASIA = 207 (1) Japan = 208 (a) Historical and Critical Studies = 209 (b) Economic Status of the Industry = 210 (2) India and Ceylon = 210 (3) China, Taiwan, Hong Kong = 212 g. AFRICA = 213 h. LATIN AMERICA = 214 (1) Mexico = 215 (2) Cuba = 216 (3) Brazil = 216 (4) Argentina = 216 i. CANADA = 217 j. AUSTRALIA AND NEW ZEALAND = 219 k. TYPES OF FICTION FILMS = 219 (1) Comedies = 220 (2) Westerns = 222 (3) Science Fiction, Supernaturalism, Horror = 225 (4) Historical, Spectacle, Adventure Films = 227 (5) Religious Films = 229 (6) Musicals, Opera, Dance = 230 (7) Biographies = 232 (8) Erotic Films = 233 (9) Stories for Children and Youth = 235 (10) Crime and Spy Thrillers = 237 (11) Race Relations Films = 238 (12) Films About War and Peace = 239 5. BIOGRAPHY = 241 6. MOTION PICTURE INDUSTRY a. ANALYSES OF BUSINESS CONDITIONS = 327 (1) Finance and Box-Office Income = 330 (2) Relations with Television = 332 (3) Assistance by Government = 335 b. DISTRIBUTION = 335 (1) Monopolies and Mergers = 336 (2) Individual Companies = 339 (3) Motion Picture Association = 342 (4) New Methods: 16mm, Pay-TV, Cartridges = 342 c. PRODUCTION AND PRODUCTION COSTS = 343 (1) Studio System = 344 (2) Labor Relations = 345 (3) Independent Production = 346 (4) Production Outside of Hollywood = 349 d. SALES = 351 (1) Publicity = 351 (2) Premieres and Previews = 353 (3) Advertising = 353 e. THEATRES = 355 (1) Case Studies = 357 (2) New Forms = 358 (a) Drive-Ins = 358 (b) Art Houses and Multiplexes = 359 7. FILM AND SOCIETY a. FILM CONTENT AS A REFLECTION OF SOCIETY = 361 (1) National Types = 362 (2) Stereotypes: Minorities, Women, Children = 363 (3) Black Experience = 364 (4) Professional Images = 364 (5) Heroes, Heroines, Villains = 365 b. AUDIENCES AND EFFECTS = 367 (1) What the Audience Wants = 367 (a) History and Opinions = 367 (b) Surveys = 369 (c) Fans, Fan Magazines, Columnists = 371 (2) Influence and Effects of Films = 372 (a) Opinions = 372 (b) Research = 372 (3) Effects on Children and Youth = 374 (a) Opinions = 375 (b) Research = 376 (4) Violence in Films = 377 (5) Propaganda Films = 379 (6) Morality in Films = 381 c. SOCIAL, POLITICAL, AND LEGAL RESTRAINTS = 384 (1) Censorship in the U.S. = 385 (a) History and Opinions = 385 (b) Local Practices = 387 (c) Supreme Court Decisions = 387 (d) Films Censored = 388 (2) Private Pressure Groups = 389 (a) Local Action = 390 (b) Catholic = 391 (c) Protestant = 394 (d) Political Pressure and Blacklisting = 394 (3) Federal Investigations = 396 (a) Proposals for Regulations = 396 (b) Un-American Activities Committee = 397 (4) Hollywood Production Code = 398 (5) Copyright, Titles, Libel = 401 (6) Audience Classification = 402 d. HOLLYWOOD'S WAY OF LIFE = 403 (1) Private Lives = 406 (2) Public Affairs and Politics = 408 (3) Around the Town = 408 (4) At Work = 409 e. INTERNATIONAL RELATIONS = 410 (1) The World Market = 413 (2) Films as Cultural Ambassadors = 415 (3) International Censorship = 417 (4) U.S.-Soviet Relations = 418 (5) Exchange of Personnel = 419 f. FILMS BY PUBLIC AGENCIES = 420 (1) U.S. Government Films = 420 (a) Military = 421 (b) USIA and OWI = 422 (2) Films by Political Parties = 423 (3) University Films = 423 8. NONFICTION FILMS a. GENERAL = 425 (1) Film and Anthropology = 428 (2) Wildlife Films = 429 (3) Films About Art = 430 (4) Films About Dance = 431 b. NEWSREELS = 431 (1) History and Theory = 432 (2) Magazine Films and March of Time = 433 c. DOCUMENTARY = 434 (1) Purposes and Theories of the Documentary = 434 (2) History of Documentary Film = 437 (a) Great Britain = 439 (b) United States = 441 (3) Cinema Verite = 442 (4) Case Studies = 443 d. AVANT-GARDE FILMS = 445 e. RELIGIOUS FILMS = 451 9. CASE HISTORIES OF FILM MAKING = 453 10. INDEX TO THE INDEX = 487

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