A HISTORY OF NARRATIVE FILM

Preface = xv Acknowledgments = xvii A Note on Method = xix A Note on Dates, Titles, and Stills = xxi 1. Origins = 1 Optical Principles = 1 Series Photography = 3 Cinematography = 5 Motion Pictures = 7 Projection: Europe and America = 9 The Evolution of Narrative: Georges Melies = 13 The Discovery of the Shot: Edwin S. Porter = 18 2. International Expansion, 1907-1918 = 31 AMERICA = 31 The Exchange System of Distribution = 31 The Motion Picture Patents Company = 35 The Advent of the Feature Film = 37 The Rise of the Star System = 39 The Move to Hollywood = 40 The New Studio Chiefs and Industry Re-Alignment = 42 The “Block Booking” Dispute and the Acquisition of Theaters = 44 The Rise of Hollywood to International Dominance = 45 EXPANSION ON THE CONTINENT = 46 The Empire of Pathe Freres = 46 Louis Feuillade and the Rise of Gaumont = 48 The Societe Film d’Art = 51 The Italian Super-Spectacle = 54 3. D. W. Griffith and the Consummation of Narrative Form = 59 FORMATIVE INFLUENCES = 60 THE BEGINNING AT BIOGRAPH = 61 INNOVATION, 1908-1909: INTER-FRAME NARRATIVE = 63 INNOVATION, 1909-1911: INTRA-FRAME NARRATIVE = 67 GRIFFITH'S DRIVE FOR INCREASED FILM LENGTH = 70 JUDITH OF BETHULIA AND THE MOVE TO MUTUAL = 72 THE BIRTH OF A NATION = 75 Production = 75 Structure = 80 Impact = 90 INTOLERANCE = 92 Production = 92 Structure = 95 Influence and Defects = 96 GRIFFITH AFTER INTOLERANCE = 99 DECLINE = 102 THE IMPORTANCE OF GRIFFITH = 106 4. German Cinema of the Weimar Period, 1919-1929 = 107 THE PRE-WAR PERIOD = 107 THE WAR YEARS = 108 THE FOUNDING OF UFA = 110 DAS KABINETT DES DR. CALIGARI = 113 THE FLOWERING OF EXPRESSIONISM = 116 Fritz Lang = 117 F. W. Murnau and the Kammerspielfilm = 120 THE PARUFAMET AGREEMENT AND THE MIGRATION TO HOLLYWOOD = 125 G. W. PABST AND “STREET” REALISM = 127 DOWN AND OUT = 131 5. Soviet Silent Cinema and the Theory of Montage, 1917-1931 = 133 THE PRE-REVOLUTIONARY CINEMA = 133 THE BIRTH OF THE SOVIET CINEMA = 134 DZIGA VERTOV AND THE KINO-EYE = 135 LEV KULESHOV AND THE KULESHOV WORKSHOP = 137 SERGEI EISENSTEIN = 142 The Formative Years = 143 From Theater to Film = 146 The Production of Battleship Potemkin = 149 The Structure of Potemkin = 150 Eisenstein’s Theory of Dialectical Montage = 171 October (Ten Days That Shook the World): A Laboratory for Intellectual Montage = 177 Eisenstein after October = 181 VSEVOLOD PUDOVKIN = 183 ALEXANDER DOVZHENKO = 189 OTHER SOVIET FILM-MAKERS = 192 SOCIALIST REALISM AND THE DECLINE OF SOVIET CINEMA = 193 6. Hollywood in the Twenties = 195 THOMAS INCE, MACK SENNETT, AND THE STUDIO SYSTEM OF PRODUCTION = 196 CHARLIE CHAPLIN = 198 BUSTER KEATON = 203 HAROLD LLOYD AND OTHERS = 209 HOLLYWOOD SCANDALS AND THE CREATION OF THE MPPDA = 212 CECIL B. DEMILLE = 215 THE “CONTINENTAL TOUCH”: LUBITSCH AND OTHERS = 216 IN THE AMERICAN GRAIN = 218 ERICH VON STROHEIM = 221 7. The Coming of Sound, 1926-1932 = 233 SOUND-ON-DISK = 233 SOUND-ON-FILM = 235 VITAPHONE = 237 FOX MOVIETONE = 241 THE PROCESS OF CONVERSION = 242 THE INTRODUCTION OF COLOR = 245 PROBLEMS OF EARLY SOUND RECORDING = 247 THE THEORETICAL DEBATE OVER SOUND = 251 THE ADJUSTMENT TO SOUND = 254 8. The Sound Film and the American Studio System = 259 NEW GENRES AND OLD = 259 STUDIO POLITICS AND THE PRODUCTION CODE = 264 THE STRUCTURE OF THE STUDIO SYSTEM = 267 MGM = 269 Paramount = 271 Warner Brothers = 273 Twentieth Century-Fox = 274 RKO = 276 The Minors = 277 “Poverty Row” = 281 MAJOR FIGURES OF THE STUDIO ERA = 282 Josef von Sternberg = 283 John Ford = 287 Howard Hawks = 291 Alfred Hitchcock = 294 George Cukor and William Wyler = 305 9. Europe in the Thirties = 309 BRITAIN = 309 GERMANY = 310 THE SOVIET UNION = 313 FRANCE = 322 Avant-Garde Impressionism, 1921-1929 = 322 The “Second” Avant-Garde = 326 Sound, 1929-1934 = 330 Poetic Realism, 1934-1940 = 333 Jean Renoir = 336 10. Orson Welles and the Modern Sound Film = 347 CITIZEN KANE = 348 Production = 348 Structure = 352 Influence = 365 WELLES AFTER KANE = 367 11. War-Time and Post-War Cinema: Italy and America, 1940-1951 = 377 THE EFFECTS OF WAR = 377 ITALY = 378 The Italian Cinema Before Neo-Realism = 378 The Foundations of Neo-Realism = 380 Neo-Realism: Major Figures and Films = 382 The Decline of Neo-Realism = 391 The Impact of Neo-Realism = 392 AMERICA = 393 Hollywood at War = 393 The Post-War Boom = 398 Post-War Genres: “Social-Consciousness” Films and Semi-Documentary Melodramas = 401 Post-War Genres: Film Noir = 403 The Witch-Hunt and the Blacklist = 407 The Arrival of Television = 410 12. Hollywood, 1952-1965 = 413 THE CONVERSION TO COLOR = 413 WIDESCREEN = 414 Multiple-Camera Widescreen Cinerama = 414 Depth: Stereoscopic 3-D = 416 The Anamorphic Widescreen Processes = 418 The Non-Anamorphic, or Wide-Film, Widescreen Processes = 420 Adjusting to Widescreen = 422 The Widescreen “Blockbuster” = 424 AMERICAN WIDESCREEN PIONEERS = 426 OTHER AMERICAN DIRECTORS = 427 FIFTIES GENRES = 429 The Musical = 429 Comedy = 430 The Western = 432 The Gangster Film and the Anti-Communist Film = 434 Science Fiction = 436 The “Small Film”: American Kammerspiel = 440 Independent Production and the Decline of the Studio System = 440 The Scrapping of the Production Code = 442 13. The French New Wave and Its Native Context = 445 THE OCCUPATION AND POST-WAR CINEMA = 445 Robert Bresson and Jacques Tati = 449 Max Ophüls = 450 THE INFLUENCE OF THE FIFTIES DOCUMENTARY MOVEMENT AND INDEPENDENT PRODUCTION = 453 THEORY: ASTRUC, BAZIN, AND CAHIERS DU CINEMA = 456 THE NEW WAVE: THE FIRST FILMS = 458 THE NEW WAVE: THE ORIGINS OF STYLE = 461 MAJOR NEW WAVE FIGURES = 463 François Truffaut = 463 Jean-Luc Godard = 468 Alain Resnais = 474 Claude Chabrol = 476 Louis Malle = 477 Eric Rohmer and Jacques Rivette = 479 Agnès Varda, Jacques Demy, and Others = 481 THE SIGNIFICANCE OF THE NEW WAVE = 486 14. European Renaissance: West = 487 BRITAIN = 487 Post-War British Cinema and Its Context = 487 British “New Cinema,” or Social Realism = 490 The End of Social Realism = 494 COMMONWEALTH CINEMA: AUSTRALIA AND CANADA = 496 THE SECOND ITALIAN FILM RENAISSANCE = 499 Federico Fellini = 499 Michelangelo Antonioni = 503 Olmi, Pasolini, and Bertolucci = 507 Other Italian Auteurs = 510 CONTEMPORARY WIDESCREEN TECHNOLOGIES AND STYLES = 513 INGMAR BERGMAN = 518 LUIS BUÑUEL = 525 15. European Renaissance: East = 535 POLAND = 536 The “Polish School” = 536 The Second Generation = 541 The Third Polish Cinema = 544 CZECHOSLOVAKIA = 546 The Post-War Period = 546 The Czech New Wave = 549 HUNGARY = 558 YUGOSLAVIA = 564 BULGARIA = 566 ROMANIA = 567 THE SOVIET UNION = 567 16. Wind from the East: Japan and Elsewhere = 571 JAPAN = 571 The Early Years = 571 Sound = 572 War = 574 Occupation = 575 Rashomon, Kurosawa, and the Post-War Renaissance = 577 Kenji Mizoguchi = 583 Yasujiro Ozu and the Use of Off-Screen Space = 585 The Second Post-War Generation = 590 The Japanese New Wave = 592 The Decline of the Studios = 594 SATYAJIT RAY AND INDIAN FILM = 596 A NOTE ON CHINA = 598 17. The Shape of the Seventies = 599 THIRD WORLD CINEMA = 599 GERMANY: DAS NEUE KINO = 604 Post-War Origins = 604 Young German Cinema = 605 The New German Cinema = 606 Volker Schlöndorff and Alexander Kluge = 608 Rainer Werner Fassbinder = 610 Werner Herzog = 614 Wim Wenders = 618 Jean-Marie Straub and Marxist Aesthetics = 619 HOLLYWOOD, 1965-1970 = 623 A New American Cinema: The Impact of Bonnie and Clyde = 626 2001: A Space Odyssey = 628 The Wild Bunch: Zapping the Cong = 631 End of a Dream = 633 HOLLYWOOD IN THE SEVENTIES = 635 Inflation and Conglomeration = 635 New Film-Makers of the Seventies = 638 THE SHAPE OF THE FUTURE = 643 References = 647 Glossary = 655 Bibliography = 671 Index = 693

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