Film Art

Preface = xiii PART Ⅰ. FILM PRODUCTION ONE／THE WORK OF FILM PRODUCTION = 3 Technical Factors in Film Production = 3 Social Factors in Film Production = 9 After Production: Distribution and Exhibition = 24 Implications of Different Modes of Film Production = 28 Notes and Queries = 31 PART Ⅱ. FILM FORM TWO／THE SIGNIFICANCE OF FILM FORM = 41 The Concept of Form in Film = 41 Principles of Film Form = 55 Summary = 60 Notes and Queries = 61 THREE／NARRATIVE AS A FORMAL SYSTEM = 64 Principles of Narrative Construction = 64 Narration: The Flow of Story Information = 75 Narrative Conventions = 81 Narrative Form in Citizen Kane = 84 Summary = 97 Notes and Queries = 98 FOUR／NONNARRATIVE FORMAL SYSTEMS = 102 Types of Nonnarrative Form = 102 Categorical Formal Systems = 104 Rhetorical Formal Systems = 112 Abstract Formal Systems = 119 Associational Formal Systems = 127 Summary = 139 Notes and Queries = 140 PART Ⅲ. FILM STYLE FIVE／THE SHOT: MISE-EN-SCENE = 145 What Is Mise-en-Scene? = 145 Realism = 146 The Power of Mise-en-Scene = 146 Aspects of Mise-en-Scene = 148 Mise-en-Scene in Space and Time = 163 Narrative Functions of Mise-en-Scene: Our Hospitality = 173 Summary = 179 Notes and Queries = 179 SIX／THE SHOT: CINEMATOGRAPHIC PROPERTIES = 185 The Photographic Image = 185 Framing = 201 Duration of the Image: The Long Take = 234 Summary = 239 Notes and Queries = 239 SEVEN／THE RELATION OF SHOT TO SHOT: EDITING What Editing Is = 247 Dimensions of Film Editing = 250 Continuity Editing = 261 Alternatives to Continuity Editing = 277 Summary = 287 Notes and Queries = 288 EIGHT／SOUND IN THE CINEMA = 292 The Powers of Sound = 292 Fundamentals of Film Sound = 295 Dimensions of Film Sound = 303 Functions of Film Sound: A Man Escaped = 318 Summary = 327 Notes and Queries = 327 NINE／STYLE AS A FORMAL SYSTEM: SUMMARY = 333 The Concept of Style = 333 Analyzing Film Style = 335 Style in Citizen Kane = 338 Style in Olympia, Part 2 = 345 Style in The River = 348 Style in Ballet mécanique = 351 Style in A Movie = 354 Notes and Queries = 357 PART Ⅳ. CRITICAL ANALYSIS OF FILMS TEN／FILM CRITICISM: SAMPLE ANALYSES = 361 The Classical Narrative Cinema = 362 His Girl Friday = 362 Stagecoach = 366 North by Northwest = 370 Hannah and Her Sisters = 376 Desperately Seeking Susan = 381 Narrative Alternatives to Classical Filmmaking = 387 Day of Wrath = 387 Last Year at Marienbad = 391 Tokyo Story = 396 Innocence Unprotected = 401 Documentary Form and Style = 406 High School = 406 Man with a Movie Camera = 413 The Animated Film = 417 Clock Cleaners = 418 Duck Amuck = 420 Fuji = 422 Form, Style, and Ideology = 424 Meet Me in St. Louis = 424 Raging Bull = 430 Tout va bien = 436 Appendix: Writing a Critical Analysis of a Film = 442 Notes and Queries = 447 PART Ⅴ. FILM HISTORY ELEVEN／FILM FORM AND FILM HISTORY = 451 Introduction = 451 Early Cinema (1893—1903) = 452 The Development of the Classical Hollywood Cinema (1908-1927) = 455 German Expressionism (1919—1926) = 459 French Impressionism and Surrealism (1918-1930) = 462 Soviet Montage (1924-1930) = 466 Summary: International Stylistic Trends of the Late Silent Cinema = 469 The Classical Hollywood Cinema after the Coming of Sound = 471 Japanese Cinema of the 1930s = 474 Italian Neorealism (1942—1951) = 477 The New Wave (1959—1964) = 479 The New German Cinema (1966—1982) = 483 Bibliography for Chapter 11 = 488 Glossary = 492 Alternative Films = 498 Credits = 500 Index = 501

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