Introduction to Film Studies

Basic Information

Title

Introduction to Film Studies

Subtitle

-

Parallel Title

-

Country

국외

Production Date

1996-**-**

Language

영어

Size (mm)

190 x 245

Pages

462쪽

ISBN/ISSN

0415108608

Edition

-

Master Files

-

Producer

Jill Nelmes (저자), Routledge (발행처)

Description

-

Contents

Contents

Notes on contributors xi Acknowledgements xiii 1 Introduction(JILL NELMES) = 1 PART ONE: INSTITUTIONS, AUDIENCES AND TECHNOLOGY 2 Cinema as institution(SEARLE KOCHBERG) = 7 Introduction The origins of the American film industry 1900-15 The studio era of American film 1930-49 Case study 1: Warner Bros The contemporary film industry (1949 onwards) Case study 2: a major US production, Jaws (1975) Case study 3: a low- to medium-budget UK production, Fellow Traveller (1989) Film audiences Censorship and classification Case study 4: US - The Hays Code Case study 5: UK censorship - interwar and second World War Case study 6: UK Contemporary - Platoon (1986) Conclusion Notes Further reading 3 Film: the place where art and technology meet = 61 CHRIS WEBSTER Introduction In the beginning Computer animation and computer-generated imagery Other ways of seeing Film and politics Shaping society Virtual reality Further reading Further viewing PART TWO: APPROACHES TO STUDYING FILM TEXTS 4 FILM form and narrative = 87 ALLAN ROWE Introduction: the act of viewing Case study 1: Robocop (1987) Case study 2: Beginning of Keaton's The General Cinematic codes Mise-en-scene Setting Props Costume Performance and movement 'Putting into the scene' Lighting Camera and camera movement Editing Sound Narrative Case study 3: If-an alternative text Notes Further reading Further viewing 5 Genre, star and auteur: an approach to Hollywood cinema = 121 PATRICK PHILLIPS Introduction Case study Part 1: New York, New York Genre Case study Part 2: The problematic musical - New York, New York as genre film Stars Case study Part 3: New York, New York - clash of the stars Auteur Case study Part 4: Scorsese and New York, New York Film, audience, dialogue Notes Further viewing PART THREE: GENRE FORMS: REALISM AND ILLUSION 6 The documentary form: personal and social 'realities' = 167 PAUL WELLS What is documentary? Some developments in non-fiction film From travelogue to authored documentary Case study 1: Robert Flaherty From social commentary to propaganda to poetic actuality Case study 2: Humphrey Jennings Propaganda as documentary myth Case study 3: Leni Reifenstahl From documentary bias to direct cinema and cinema-verite Case study 4: Frederick Wiseman From radical documentary to television, diversity Notes Further reading Further viewing 7 Animation: forms and meanings = 193 PAUL WELLS Introduction What is animation? Early animation Case study 1: Duck Amuck (1953) Case study 2: Girls Night Out (1986) Developmental animation Case study 3: Creature Comforts (1990) Case study 4: Neighbours (1952) Case study 5: Daddy's Little Bit of Dresden China (1987) Experimental animation Case study 6: A Colour Box (1935) Case study 7: The Nose (1963) Case study 8: Deadsy (1990) Conclusion Notes Further reading Further viewing PART FOUR: REPRESENTATION OF GENDER AND SEXUALITY 8 Women and film = 221 JILL NELMES No job for a woman - a history of women in film Feminist film theory and practice in Britain Case study 1: Red Flannel, Mam (1988), Otherwise Engaged (1991) Case study 2: A Question of Silence (1982) Case study 3: Sally Potter, film-maker, The Gold Diggers (1983), Orlando (1993) Notes Further reading Further viewing 9 Lesbian and gay cinema = 257 CHRIS JONES Representation Definitions and developments - homosexual and gay Audiences Lesbian and Gay Film Festivals Gay sensibility Lesbian and gay film study Critical re-readings Some films with gay themes Case study 1: Victim (Basil Dearden, UK 1961) Case study 2: Desert Hearts (Donna Deitch, US 1985) Case study 3: Looking for Langston (Isaac Julien, US 1988) Case study 4: The Living End (Gregg Araki, US 1993) Conclusion: A queer diversity Further reading Further reading for teachers Further viewing Useful addresses PART FIVE: NATIONAL CINEMAS 10 British cinema: representing the nation = 293 LEZ COOKE Introduction What is British cinema? The nation, national culture and national cinema Contextual and comparative analysis Representation, ideology and hegemony Four aspects of representation Representations of class in early British cinema The concept of national cinema of the 1930s The popular entertainment cinema of the 1930s The documentary movement in the 1930s Oppositional cinema in the 1930s Notions of 'independence' in British cinema British cinema in the 1980s Redefining national identity Notes Further work Further reading Further viewing 11 The Soviet montage cinema of the 1920s = 329 MARK JOYCE Introduction: why study the Soviet cinema? Historical background Pre-revolutionary Russian cinema Soviet cinema and ideology: film as agent of change Economics of the Soviwt film industry Form: montage Other features of the Soviet montage cinema The key Soviet montage film-makers of the 1920s Case study 1: Lev Kuleshov, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924) Case study 2: Sergei Eisenstein, Strike; Battleship Potemkin; October, Old and New Case study 3: Vsevolod Pudovkin, The Mother, The End of St. Petersburg Case study 4: Alexander Dovzhenko (1894-1956), Arsenal (1929); Earth (1930) Case study 5: Esfir Shub, The Fall of the Romanov Dynasty (1927) Audience response Theoretical debates: montage versus realism Postscript to the 1920s Notes and references Further reading Further viewing 12 An introduction to Indian cinema = 365 ASHA KASBEKAR Introduction The narrative structure History of the popular Hindi firm Case study 1: Mehboob Khan (1904-64) Case study 2: Raj Kapoor (1926-88) Case study 3: Bimal Roy (1902-66) Case study 4: Guru Dutt (1925-64) Case study 5: Satyajit Ray (1921-92) The distribution network Satellite television The influence of Hollywood Conclusion Recommended viewing Further viewing 13 New German Cinema = 393 JULIA KNIGHT Introduction The American legacy The development of the film subsidy system The artisanal mode of production The quest for alternative images and counter-representations Case study 1: Yesterday Girl Sponsorship or censorship? Conclusion Notes Further reading Further viewing Glossary of key terms = 429 Bibliography 439 Index 451

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