Anatomy Of Film

Basic Information

Title

Anatomy Of Film

Subtitle

-

Parallel Title

-

Country

국외

Production Date

2005-**-**

Language

-

Size (mm)

-

Pages

418

ISBN/ISSN

0312415168

Edition

5th ed.

Master Files

-

Producer

Bernard F. Dick (저자), Bedford st.Martin's (발행처)

Description

-

Contents

Contents

Preface = ⅴ Acknowledgments = ⅶ Understanding the Medium = 1 Film as a Hybrid Art = 2 The Creation of the Narrative Film = 2 Narrative Film = 3 Time-Space Relationships = 6 Movie Time = 7 The Diversity of the Medium = 8 Independent Film = 9 International Film = 13 Examining a Film Text = 17 Graphics and Sound = 20 Graphics = 21 Logos = 21 Main Titles, Credits, Precredits, Sequences, and End Credits = 23 Opening Titles and End Titles = 28 Intertitles = 31 Subtitles = 33 Other Uses of the Printed Word = 33 Sound = 35 Actual and Commentative Sound = 36 Synchronization and Asynchronization = 37 Overlap = 39 Voice-Over Narration = 40 The Narrating "I" = 41 The Voice of God = 43 The Epistolary Voice = 44 The Subjective Voice = 45 The Repetitive Voice = 46 The Voice from the Mahine = 47 Film, Space, and Mise-en-Scene = 49 The Shot = 49 Types of Shots = 50 Close-ups and Long Shots = 50 High-Angle and Low-Angle Shots = 51 Subjective Camera = 53 The Moving Shot = 56 Zooms and Freezes = 60 Combining Shots: The Sequence = 61 The Linear Sequence = 62 The Associative Sequence = 63 The Montage Sequence = 65 From Shot to Shot = 65 Cuts = 65 Transitions = 67 The Fade = 67 The Dissolve = 69 The Form Dissolve = 70 The Wipe = 71 The Iris = 72 Assembling the Shots = 75 Eisenstein's Theory of Montage = 76 Continuity Editing = 77 Rhythm = 77 Time = 77 Space = 78 Tone = 79 Theme = 79 The Role of the Editor = 79 Mise-en-Scene = 82 Enhancing the Image: Color, Lighting, and Visual Effects = 94 Coloring the Image = 94 The Black-and-White Film = 95 The Color Film = 97 The Visual Style of The Hours = 101 Colorization = 103 Lighting the Image = 94 Special Effects/Visual Effects (SFX, VFX) = 108 Film Genres = 112 The Musical = 114 The Western = 124 The Crime Film = 132 Film Noir = 136 Combat Film = 141 Comedies = 145 Screwball Comedy = 145 Farce = 149 Satire = 153 The Reflexive Film = 154 The Woman's Film = 165 The Documentary = 170 The Horror Film = 175 The Science-Fiction FIlm = 180 Understanding Genre = 184 Film Subtext = 186 Mythic Associations = 188 The Transformation Myth in Cat People = 190 The Savior Myth in Shane = 191 Shane as a Christ Figure = 191 Shane as Apollo-Hercules = 192 Shane as Knight-Errant = 193 The War of the Worlds in The Matrix Trilogy = 194 Visual/Iconic Associations = 198 Humphrey Bogart as Screen Icon in High Sierra = 198 Al Pacino as Christ Figure in Serpico = 201 Jack Nicholson as Free Sprit and Louise Fletcher as Boss Lady in One Flew over the Cuckoo's Nest = 202 Barbara Stanwyck as Marlene Dietrich in Double Indemnity = 204 Intellectual Associations = 204 History by Suggestion = 206 Film History by Suggestion = 208 Remaking the Original: The Shop Around the Corner, In the Good Old Summertime, You've Got Mail = 211 Musical Association = 216 The Film Director = 223 Auteurism = 223 The Beginnings of Auteurism = 224 The Debate over Auteurism = 226 Collaboration = 228 Variety = 231 Repetition = 234 Quotations = 235 Borrowings = 236 An interview with Billy Wilder = 237 An interview with Alan Alda = 245 Film and Literature = 254 Literary Techniques = 255 The Flashback = 255 The Flash-Foreward = 256 Point of View = 257 Omniscient Narrator = 258 Implide Author = 259 Film Adaptation = 261 Adaptations of Novels = 265 Jane Austen's Emma, Amy Heckerling's Clueless, and Doug McGrath's Emma = 265 Virginia Woolf's Mrs.Dalloway and Marleen Gorris's Mrs.Dalloway = 269 Michael Cunningham's The Hours and Stephen Daldry's The Hours = 273 Adaptations of Plays = 280 Adaptations of Short Stories = 282 Daphne du Maurier's "The Birds" and Alfred Hitchcock's The Birds = 282 Philip K.Dick's "Minority Report" and Steven Spielberg's Minority Report = 284 The Nature of Screenwriting = 288 Film Analysis = 297 Casablanca (Michael Curtiz, 1942) = 298 Raging Bull (Martin Scorsese, 1980) = 302 The Truman Show (Peter Weir, 1998) = 306 A.I.Artificial Intelligence (StevenSpielberg, 2001) = 309 Crouching Tiger, Hidden Dragon (Ang Lee, 2001) = 314 Analyaing Films = 318 Film Theory and Criticism = 320 The History of Film Criticism = 321 The Russians = 321 The Grammarians = 322 The Apologists = 323 The Realists = 323 The Auteurists = 328 The Mythographers = 329 The Semioticians = 330 Feminist Criticism = 335 Ideological Criticism = 340 Reception Theory = 343 The Reviewers = 345 Practical Criticism: Interpreting Citizen Kane = 350 The Film Historian = 350 The Auteurist = 353 The Myth Critic = 354 The Social Historian = 355 Guidelines for Film Criticism = 357 Appendix 1: List of Films Referenced and Directors = 361 Appendix 2: Sample Student Papers = 381 Art vs.Violence in A Clockwork Orange = 381 Run Lola Run: Running to Stand Still = 383 Appendix 3: Online Resources and Citation = 387 Video and DVD Rental and Purchase = 387 Web Sites = 387 Ratings = 387 New Films = 388 Studio Web Addresses = 388 Casts, Credits, and Reviews = 389 The Library of Congress = 389 Directors' Sites = 389 Citing Online Resources = 390 Glossary of Motion Picture Terms = 391 Index = 401

Holdings Information 1