Light And Shadows

Preface xi A Film Chronology xiv Chapter 1 Technology Industry, and Form (Beginnings to 1907) = 3 Focus = 3 Archaeology = 3 Leonardo da Vinci (1452-1519) = 4 Giambattista della Porta (1540-1615) = 4 Athanasius Kircher (1601-1680) = 4 Johannes Zahn (16?-17?) = 5 E. G. Robertson (1763-1837) = 5 The Invention of Cinematography = 5 Persistence of Vision = 6 Photography = 7 The Motion Picture Camera = 7 Film = 8 The Motion Picture Projector = 10 The Single-Shot Film = 11 Georges Méliès = 13 Edwin S. Porter = 16 Other Pioneers = 19 Industrial Development = 20 The Beginnings of an Industrial Identity: 1895-1900 = 20 Refinement and Progress: 1900-1907 = 21 Wrap-Up = 28 Chapter 2 Industrial Development and Emerging Film Styles (1908-1916) = 31 Focus = 31 The Industry = 33 The Trust = 33 The Independents = 37 The Feature Film = 38 The Star System = 39 New Forms of Exhibition = 43 Content Control = 45 Griffith and the Art of Film Construction = 47 The Formative Years = 48 The Birth of a Nation = 53 Intolerance = 56 The Later Years = 59 Dramas, Melodramas, and Westerns = 62 The Aesop of Inceville = 62 Silent Comedy and the Art of Mime = 64 Sennett: The Fastest Fun on Earth = 65 Charlie Chaplin: "The Mob God" = 67 Wrap-Up = 71 Chapter 3 American Silent Film (1917-1927) = 73 Focus = 73 New Strength in the Industry = 74 Exhibition = 74 Production = 76 The Establishment of Hollywood = 78 A New System = 78 Scandal and Sin = 82 Stabilization = 83 Hollywood's First-String Directors = 85 Erich von Stroheim = 85 Josef von Sternberg = 88 Ernst Lubitsch = 88 Cecil B. De Mille = 89 The Second String = 91 Henry King = 91 James Cruze = 92 Rex Ingram = 92 King Vidor = 92 Silent Beginnings to Brilliant Careers in Sound = 93 John Ford = 93 Alfred Hitchcock = 93 The Stars = 94 Mary Pickford = 94 Pola Negri = 94 Richard Barth이mess = 94 Rudolph Valentino = 95 Tom Mix = 96 William S. Hart = 96 Lon Chaney = 96 Douglas Fairbanks = 97 Charlie Chaplin = 98 Buster Keaton = 100 Harold Lloyd = 103 Harry Langdon = 104 Other Comic Stars = 105 Dream Building, Cinemorality, and the Formula Film = 106 Institutional and Public Issues = 108 Private Issues and Taboos = 110 Racial Issues = 111 Uncle Tom and Others = 113 The Cohens and the Kellys = 114 Religion and Politics = 115 Wrap-Up = 116 Chapter 4 The German Silent Film (1919-1932) = 119 Focus = 119 An Emerging Industry = 120 An Emerging Art = 121 The Student of Prague = 122 The Golem = 123 The Cabinet of Dr. Caligari = 124 Nosferatu = 126 Metropolis = 127 The New Realism and the Social Milieu = 129 Murnau — The Last Laugh = 129 Dupont — Variety = 130 Pabst — Secrets of the Soul and The Joyless Street = 131 Migration = 133 The End of the Golden Age = 134 von Sternberg — The Blue Angel = 134 Lang — M = 134 Pabst — Kameradschaft = 135 Wrap-Up = 135 Chapter 5 The Soviet Silent Film (1918-1930) = 137 Focus = 137 Before the Revolution = 138 Kuleshov and Vertov: Soviet Film Pioneers = 139 Eisenstein and the Collision of Images = 141 Pudovkin: Linkage and the Plastic Material = 149 Dovzhenko: Cinema Poetry = 151 Other Notables = 152 Politics and Compromise = 153 Wrap-Up = 155 Chapter 6 Other International Influences (1919-1927) = 157 Focus = 157 The European Film Industries in Decline = 158 France = 161 Jean Renoir = 166 Scandinavia = 167 England = 169 Italy = 170 The Far East = 170 Wrap-Up = 170 Chapter 7 Sound: A New Beginning (1927-1933) = 173 Focus = 173 Early Attempts at Sound = 174 Warner Brothers and Vitaphone = 178 Competitive Media = 179 The Jazz Singer = 179 Problems and Impacts = 182 The Impact on Technology = 182 The Impact on Content = 184 The Impact on People = 185 The Impact on the Industry = 188 Solutions and Progress = 189 European Developments = 192 Germany = 193 France = 193 The Development of Color = 193 Wrap-Up = 195 Chapter 8 Studio Styles (1933-1945) = 197 Focus = 197 The Studio System = 197 Studio Profiles = 198 MGM = 200 Paramount = 204 Warner Brothers = 207 20th Century-Fox = 210 Columbia = 212 RKO (Radio-Keith-Orpheum) = 213 Universal = 214 Republic — A Minor Case = 215 Short Subjects = 215 Animation = 217 The Sound Film as Social Document = 218 The Limitations of a Preoccupied Industry = 219 Realism Redefined = 220 The American Problem Picture = 220 Hollywood During World War Ⅱ = 222 The Directors = 224 Howard Hawks = 224 John Ford = 225 Orson Welles = 226 Wrap-Up = 227 Chapter 9 Film and the Age off Television (1946-1964) = 231 Focus = 231 Postwar Realism = 231 Film Noir = 234 A New Era = 236 Four Problems = 236 Communism = 236 Television = 239 The Paramount Decision = 240 The Foreign Affair = 240 Hollywood's Reaction = 241 New Big-Screen Technology = 242 Three-Dimensional Films = 243 New Color Technology = 244 Independent Production = 244 A New Morality = 245 System Changes = 247 The Genre Film = 248 The Musical = 248 The Western = 249 The Comedy = 251 The Science Fiction Film = 253 From Small to Big = 254 Wrap-Up = 256 Chapter 10 Postwar Cinema: Europe and the East (1945-1963) = 259 Focus = 259 The New Italian Realism = 260 Roberto Rossellini = 260 Vittorio de Sica = 261 Luchino Visconti = 262 Cesare Zavattini = 262 The French Experience = 263 François Truffaut = 265 Jean-Luc Godard = 266 Alain Resnais = 268 From Sweden = 269 Ingmar Bergman = 269 Italian Encore = 272 Federico Fellini = 272 Michelangelo Antonioni = 274 From Britain: The Kitchen-Sink Realists = 274 Jack Clayton = 275 Tony Richardson = 276 Lindsay Anderson = 278 From the East: Japan and India = 279 Wrap-Up = 281 Chapter 11 New International Cinema (1963-Present) = 283 Focus = 283 The Star Auteurs = 284 Ingmar Bergman = 284 Francois Truffaut, Jean-Luc Godard, and Alain Resnais = 286 Federico Fellini and Michelangelo Antonioni = 288 Luis Buñuel = 290 National Cinemas Since the New Wave = 292 France = 292 Italy = 292 Britain = 294 Japan = 296 Eastern Europe = 296 The Third World = 300 Latin America = 300 Africa = 301 New Fronts = 302 Germany = 302 Australia = 306 Brief Encounters = 307 Coproduction and American Accent = 308 Wrap-Up = 308 Chapter 12 New American Films and Filmmakers (1965-Present) = 311 Focus = 311 Industrial Change = 312 A New Star System = 315 The Director as "Star" = 317 Martin Scorcese = 318 Sidney Lumet = 318 Sam Peckinpah = 320 Robert Altman = 321 Stanley Kubrick = 321 The Inheritors = 322 George Lucas = 323 Steven Spielberg = 323 Francis Ford Coppola = 325 New Technology = 327 Films of the Time: An Overview = 328 The Early Sixties = 328 1968-1969 = 330 The Early Seventies = 332 Nostalgia Films = 333 1974 = 333 1975 = 333 1976 = 333 1977: The Big Sequel Storm = 333 1978-1979 = 335 1980-1981 = 335 1982 = 336 1983-1984 = 336 A New Conformity = 336 The Genre Film = 338 Sex and Violence = 342 Sex = 342 Violence = 343 Film and Television = 344 Regulation and Content Control = 344 Wrap-Up = 345 Chapter 13 Experimentation and New Directions = 347 Focus = 347 The Experimental Film = 348 The Pioneers = 349 The Postwar American Underground = 350 The New Avant-Garde = 352 Animation = 352 Technology and Exhibition = 355 Multiscreen Projection = 356 Stereoscopic Film = 357 New Systems and Functions = 358 Computers and Film = 359 Changes in Exhibition = 360 Extending the Film Experience = 360 The Viewing Situation = 360 Conditioning = 363 Film Study = 366 Wrap-Up = 367 Chapter 14 Documentary: Reality Redeemed Through the Art of the Film = 369 Focus = 369 Robert Flaherty = 370 John Grierson = 373 Leni Riefenstahl = 376 Pare Lorentz = 377 Film in the Streets = 380 The Compilation Documentary = 381 World War Ⅱ = 381 Direct Cinema = 385 Wrap-Up = 392 Bibliography = 395 Index = 399

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