Looking at Movies: An Introduction to Film,9780393974362

Looking at Movies: An Introduction to Film

by
Edition: CD
ISBN13: 9780393974362
ISBN10: 0393974367
Format: Paperback
Pub. Date: 2003-08-01
Publisher(s): W W Norton & Co Inc
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Table of Contents

To Students xix
Preface xxi
Acknowledgments xxv
What is a Movie?
1(56)
Fundamental Principles
2(38)
Movies Manipulate Space and Time in Ways That Other Art Forms Cannot
2(12)
Movies Depend on Light
14(2)
Photography
16(2)
Series Photography
18(1)
Motion Picture Photography
19(3)
Inventing Motion Pictures
22(2)
Movies Provide an Illusion of Movement
24(3)
Movies Can Depict Worlds Convincingly
27(6)
Movies Generally Result from a Complex, Expensive, and Highly Collaborative Process
33(2)
Preproduction
35(2)
Production
37(3)
Postproduction
40(1)
Types of Movies
40(12)
Nonfiction Films
40(4)
Narrative Films
44(1)
Genre
44(2)
Animated Films
46(3)
Experimental Films
49(3)
Questions for Review
52(1)
Questions for Analysis
53(1)
A Note on ``Case Studies''
53(1)
For Further Reading
54(3)
Form and Narrative
57(64)
What is Form?
58(4)
Principles of Film Form
62(14)
Form and Expectations
62(3)
Form and Patterns
65(8)
Form and Themes
73(1)
Coherence, Progression, and Unity and Balance
74(2)
What is Narrative?
76(4)
Telling the Story
77(3)
Elements of Narrative
80(27)
Story and Plot
80(4)
Order
84(2)
Events: Hubs and Satellites
86(1)
Duration
87(4)
Suspense versus Surprise
91(2)
Frequency
93(1)
Characters
94(4)
Setting
98(2)
Point of View
100(1)
Omniscient POV
100(1)
Subjective or Restricted POV
101(5)
Scope
106(1)
Analyzing Narrative
107(11)
John Ford's Stagecoach
109(9)
Questions for Review
118(1)
Questions for Analysis
118(1)
For Further Reading
119(2)
Mise-En-Scene and Design
121(56)
What is Mise-En-Scene?
122(4)
Composition and Mise-En-Scene
126(13)
Framing: What We See on the Screen
128(5)
Kinesis: What Moves on the Screen
133(3)
Movement of Figures within the Frame
136(3)
Analyzing Mise-En-Scene
139(4)
Jean Renoir's The Rules of the Game
139(4)
What is Design?
143(4)
Process and Elements of Design
147(16)
Roles of the Art Director and the Production Designer
147(1)
Setting
148(2)
Lighting
150(2)
Costume, Makeup, and Hairstyle
152(1)
Costume
153(2)
Makeup and Hairstyle
155(2)
International Styles and Development
157(6)
Analyzing Design
163(11)
Todd Solondz's Happiness
164(3)
Sam Mendes's American Beauty
167(4)
Michael Almereyda's Hamlet
171(3)
Questions for Review
174(1)
Questions for Analysis
174(1)
For Further Reading
174(3)
Cinematography
177(70)
What is Cinematography?
178(2)
The Director of Photography
180(1)
The D.P.'s Responsibilities
180(1)
Cinematographic Properties of the Shot
181(14)
Film Stock
181(2)
Black-and-White Film Stock
183(2)
Color Film Stock
185(4)
Lighting
189(1)
Source
189(1)
Quality
190(1)
Direction
190(2)
Color
192(1)
Lenses
192(2)
Style
194(1)
Framing of the Shot
195(33)
Visualization and Composition
195(3)
Types of Shots
198(3)
Depth
201(6)
Camera Angle and Height
207(1)
Eye-Level Shot
207(1)
High-Angle Shot
208(1)
Low-Angle Shot
208(4)
Dutch-Angle Shot
212(1)
Point-of-View Shot
212(4)
Aerial-View Shot
216(2)
Scale
218(1)
Camera Movement
219(1)
Pan Shot
220(1)
Tilt Shot
221(1)
Tracking Shot
221(2)
Crane Shot
223(3)
Steadicam
226(1)
Zoom Lens
227(1)
Speed and Length of the Shot
228(3)
Special Effects Cinematography
231(4)
Analyzing Cinematography
235(7)
Terrence Malick's Days of Heaven
235(7)
Questions for Review
242(1)
Questions for Analysis
243(1)
For Further Reading
243(4)
Acting
247(48)
What is Acting?
248(17)
The Paradox of Acting
251(1)
Early Screen-Acting Styles
251(2)
D. W. Griffith and Lillian Gish
253(2)
Konstantin Stanislavsky and Method Acting
255(1)
Bertolt Brecht
256(1)
The Influence of Sound
257(2)
Movie Stars in the Golden Age of Hollywood
259(4)
Screen Acting Today
263(2)
Casting Actors
265(4)
Factors Involved in Casting
266(3)
Aspects of Performance
269(9)
Types of Roles
269(2)
Preparing for Roles
271(2)
Naturalistic and Nonnaturalistic Styles
273(1)
Improvisational Acting
274(3)
Directors and Actors
277(1)
How Filmmaking Affects Acting
278(7)
Framing, Composition, Lighting, and the Long Take
278(5)
The Camera and the Close-Up
283(2)
Analyzing Acting
285(6)
Barbara Stanwyck in King Vidor's Stella Dallas
287(2)
Maggie Smith in Jack Clayton's The Lonely Passion of Judith Hearne
289(2)
Questions for Review
291(1)
Questions for Analysis
291(1)
For Further Reading
292(3)
Editing
295(56)
What is Editing?
296(10)
Continuity Editing
298(2)
Screen Direction
300(2)
Discontinuity Editing
302(4)
The Editor's Responsibilities
306(9)
Spatial, Temporal, and Visual Relationships between Individual Shots
307(2)
Rhythm
309(4)
Mood
313(1)
Ellipsis
313(1)
Separation
313(2)
Pattern
315(1)
Slow Disclosure
315(1)
Conventions of Editing
315(14)
Establishing Shot
317(1)
Match Cut
317(1)
Match-on-Action Cut
317(1)
Graphic Match Cut
317(1)
Eyeline-Match Cut
318(1)
Point-of-View Editing
318(1)
Parallel Editing
319(2)
Shot/Reverse Shot
321(1)
Jump Cut
321(1)
Fade-In and Fade-Out
322(1)
Dissolve
323(1)
Wipe
324(1)
Iris-In and Iris-Out
325(1)
Flashback and Flashforward
325(1)
Freeze Frame
326(1)
Split-Screen
327(1)
Montage
328(1)
Conventions of Editing in Mark Sandrich's Top Hat
329(1)
Editing and Postproduction
329(3)
The Editor's Tools
332(2)
Editing with Rudimentary Equipment and with Upright and Flatbed Machines
332(1)
Linear Editing with Videotape
333(1)
Nonlinear Digital Editing with Computerized Equipment
333(1)
Analyzing Film Editing
334(15)
D. W. Griffith's The Birth of a Nation
335(6)
Buster Keaton's Sherlock, Jr.
341(1)
Sergei Eisenstein's Battleship Potemkin
341(3)
Leni Riefenstahl's Olympia
344(1)
Orson Welles's Citizen Kane
344(1)
Elia Kazan's On the Waterfront
344(3)
Alfred Hitchcock's Psycho
347(1)
Sidney Lumet's The Pawnbroker
348(1)
Questions for Review
349(1)
Questions for Analysis
349(1)
For Further Reading
350(1)
Sound
351(52)
What is Sound?
352(1)
Physical and Perceptual Characteristics of Sound
353(3)
Sources of Film Sound
356(7)
Diegetic or Nondiegetic
356(3)
Internal or External
359(1)
Onscreen or Offscreen
360(1)
Synchronous or Asynchronous
361(1)
Production or Postproduction
362(1)
Types of Film Sound
363(10)
Vocal Sounds (Dialogue and Narration)
363(3)
Environmental Sounds (Ambient Sound and Sound Effects)
366(1)
Music
367(5)
Silence
372(1)
Functions of Film Sound
373(8)
Audience Awareness
373(1)
Audience Expectations
374(1)
Rhythm
375(1)
Character
376(1)
Fidelity
377(1)
Continuity
378(1)
Emphasis
378(1)
Juxtaposition
379(2)
Montage
381(1)
Sound Versus Silence
381(9)
Technological Challenges
382(5)
Commercial Challenges
387(1)
Aesthetic Challenges
388(1)
Classical Sound Theory
389(1)
Modern Sound Theory
390(1)
Sound Production
390(4)
Design
390(2)
Recording
392(1)
Editing
393(1)
Mixing
394(1)
Analyzing Film Sound
394(6)
Orson Welles's Citizen Kane
394(6)
Questions for Review
400(1)
Questions for Analysis
400(1)
For Further Reading
400(3)
Writing About Movies
403(54)
Joining the Critical Conversation About Movies
404(1)
Fundamental Techniques
405(10)
Summarizing Plot
405(1)
Analyzing Shots, Scenes, and Sequences
406(1)
Plot Segmentation
407(1)
Taking Notes
407(1)
Taking Advantage of Tape, DVD, and the Internet
407(1)
Writing Descriptively
408(3)
Making an Argument
411(1)
Developing a Thesis
411(2)
Incorporating Sources
413(1)
Avoiding Plagiarism
414(1)
Assignments and Strategies
415(6)
Critical Analysis
416(1)
Comparison and Contrast
416(1)
Movie Review versus Critical Analysis
417(3)
Research Paper
420(1)
Explicit, Implicit, and Ideological Meanings
421(2)
Genre Study
423(2)
Critical and Theoretical Approaches
425(8)
Interpretive Frameworks
426(1)
Mimicry and Catharsis
426(1)
Binary Oppositions (Dualism)
427(1)
Auteurism
428(1)
Psychological Criticism
429(1)
Freudianism
429(1)
Cognitive Psychology
429(1)
Ideological Criticism
430(1)
Marxism
431(1)
Feminism
432(1)
Cultural Studies
433(1)
Applied Readings
433(8)
Die Hard: Mimicry and Catharsis
433(1)
Die Hard: Binary Oppositions
434(1)
Wall Street: Freudianism
435(1)
Vertigo: Cognitive Psychology
436(1)
Rear Window: Auteurism
437(1)
Metropolis: Marxism
438(1)
Thelma and Louise: Feminism
439(1)
Repo Man: Cultural Studies
440(1)
The Writing Process
441(2)
Prewriting: Discovering What You Want to Say
441(1)
Generating Text
441(1)
Revising
442(1)
Sample Student Paper: ``Modern Indemnity''
443(14)
James Arnett
APPENDIX: OVERVIEW OF HOLLYWOOD PRODUCTION SYSTEMS
457(22)
The Studio System
458(9)
Organization before 1931
458(1)
Organization after 1931
459(2)
Organization during the Golden Age
461(3)
Labor, Labor Unions, and the Division of Labor
464(1)
Professional Organizations and Standardization
465(1)
Decline of the Studio System
465(2)
The Independent System
467(9)
Financing in the Industry
470(4)
Marketing and Distribution
474(2)
For Further Reading and Viewing
476(3)
Glossary 479(16)
Permissions Acknowledgments 495(4)
Index 499

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