An Introduction to Film

Basic Information

Title

An Introduction to Film

Subtitle

-

Parallel Title

-

Country

국외

Production Date

1987-**-**

Language

영어

Size (mm)

160 x 219

Pages

514쪽

ISBN/ISSN

0316802522

Edition

2nd Edition

Master Files

-

Producer

Thomas Sobchack, Vivian C. Sobchack (저자), Little Brown and Company (발행처)

Description

-

Contents

Contents

PART Ⅰ THE PRODUCTION OF FILM 1. The Hollywood Standard = 3 Film Culture = 12 Illusionism = 4 The Film Industry = 15 The Film Process = 21 The Screenplay = 21 Financing and Packaging = 24 Preproduction = 27 Production = 30 Postproduction = 32 Marketing Distribution and Exhibition = 34 The Credits = 37 Principal Credits = 38 Secondary Credits = 39 PART Ⅱ THE ELEMENTS OF FILM Historical Overview: The Development of the Image = 44 Early Mechanisms = 44 The Mobile Camera = 47 Further Expressive Techniques = 47 2. Film Space = 54 The Image = 55 The Lived World and the Filmed World = 55 The Eye and the Camera = 59 Tone = 63 Film Stock = 64 Lighting = 68 Composition = 74 Composition in the Frame = 74 Composition out of the Frame = 78 Viewpoints = 81 Movement = 91 Movement in the Frame (Subject Movement) = 91 Movement of the Frame (Camera Movement) = 92 Historical Overview : The Development of Editing = 104 Beginnings: Méliès, Porter, and Griffith = 104 The Russians and Montage = 106 Sound and Editing = 110 3. Film Time = 112 Manipulation of Time = 115 Invisible Editing — Decoupage = 116 Nonconventional Editing — Jump Cuts = 118 Compression of Time = 119 Expansion of Time = 124 Simultaneous Time = 125 Stopped Time: The Freeze Frame = 129 Subjective Time: Dream, Fantasy, Memory, and Perceptual Distortion = 130 Objective Time: The Flashback and the Flash-Forward = 136 Achronological Time = 138 Ambiguous Time = 138 Universal Time = 139 Visual Rhythm = 142 Meaning Through Editing — Relationships Between Shots = 143 Montage: Connections and Dislocations = 143 Montage by Composition = 144 Montage by Movement = 145 Montage by Repetition = 148 Montage by Rhythm = 149 Montage by Content: Detail and Metaphor = 149 Meaning with Minimal Editing — Relationships Within Shots = 155 Mise-en-Scène = 155 The Illusion of Actual Space: The Long Shot = 157 The Illusion of Actual Time: The Long Take = 159 Historical Overview: The Development of Sound = 163 Sound and the Silent Film = 163 Early Invention = 164 The Movies Talk = 166 4. Film Sound = 170 The Process = 171 The Human Voice = 172 Dialogue = 173 Narration = 178 Sound Effects = 182 Synchronous Sound = 182 Asynchronous Sound = 184 Music = 186 Background Music — The Film's Score = 186 Foreground Music = 188 The Artistry of Sound = 190 Sound Perspective = 191 The Sound Bridge = 193 Sound Counterpoint = 195 Sound Conventions = 198 PART Ⅲ MAINSTREAM NARRATIVE FILM Knowing and Understanding Narrative Film = 204 Historical Overview: The Development of the Narrative Film = 208 Early Storytellers: Hollywood and the Silent Film = 208 Early Storytellers: Europe and the Silent Film = 213 Sound and the Narrative Film = 214 The Hollywood Fiction Film = 216 Film Movements = 217 New Directions = 220 5. Genre Films = 222 The Definition of Genre = 223 Formula = 227 Convention = 230 Iconography = 232 Types of Genre Narrative = 234 Genre Comedies = 236 Genre Melodramas = 247 Genre as Myth = 274 Genre Films and Society = 278 Genre Parody and Antigenre Films = 279 6. Nongenre Narrative and Its Makers = 284 Nongenre Narrative = 284 Characteristics of Nongenre Film Realism = 285 Characteristics of Nongenre Film Expressionism = 288 Characteristics of Nongenre Film Comedy = 295 Themes and Aesthetics of the Nongenre Film = 297 Personal Visions = 300 The Film Artisan = 302 The Film Auteur = 303 The Film Artist = 309 Film and Literature: The Problem of Adaptation 312 Acting: Actors and Stars = 325 PART Ⅳ THE ALTERNATIVE FILM Historical Overview: The Development of the Documentary Film = 336 From Silence to Sound = 336 Sound and Social Reform = 338 Persuasion and Propaganda = 340 Documentary and Television: New Technology and New Forms = 342 7. The Documentary Film = 346 The Image of the Real = 346 Form and Technique = 347 Documentary Functions = 349 Observation = 349 Analysis = 354 Persuasion = 359 Aesthetic Expression: Poetry and Drama = 364 Re-Creation: The Ethics of Documentary = 368 Historical Overview: The Development of Experimental, Independent and Animated Filmmaking = 374 Beginnings: The Break with Realism = 374 Surrealism and the Avant-Garde = 376 Decline: Sound and the War Years = 378 Renaissance: The Rise of the Independent Filmmaker = 379 Animation = 382 8. Experimental, Independent, and Animated Films = 384 Film as Film = 384 The Representational Film = 386 The Abstract Film = 394 The Animated Film 399 Two-Dimensional Animation = 402 Three-Dimensional Animation = 408 PART Ⅴ A GUIDE TO FILM ANALYSIS AND CRITICISM Reading and Writing About Film = 412 Historical Overview: The Development of Film Reviewing, Criticism, and Theory = 414 The First Reviews = 414 The Emergence of Film Theory: America and Europe = 415 Technology and Theory: From Formalism to Realism = 417 Contemporary Theory and Criticism = 419 9. Writing College Papers About Film = 422 The Critical Act: How to Start = 424 What to Write About: The Individual Film = 425 Content and Structure = 427 Form = 434 What to Write About: Multiple Films and Extrafilmic Issues = 445 Comparison and Contrast = 446 Genre Groupings = 448 Auteur Groupings = 449 Contextual Groupings = 450 Research Papers = 452 Manuscript Preparation = 453 Format = 453 References = 454 Works Cited = 455 Helpful Hints for Writing Papers = 456 Some Things to Avoid = 456 Some Things to Do = 457 Student Papers = 457 Selected Sources for Further Reading = 467 Selected Film Glossary = 473 Index = 495

Holdings Information 1