Film History: An Introduction

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9780070384293: Film History: An Introduction

Written by two leading film scholars, Film History: An Introduction is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling Film Art, concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

L'autore:

Kristin Thompson is an Honorary Fellow at the University of Wisconsin - Madison. She holds a master's degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin - Madison. She has published Eisenstein's Ivan the Terrible (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), and Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. Heinman, 1992). In her spare time she studies Egyptology. The authors have collaborated on Film History (McGraw-Hill, 1994) with Janet Staiger, on The Classical Hollywood Cinema (Columbia University Press, 1985) and Storytelling in the New Hollywood (Harvard University Press, 1999)

David Bordwell is Jacques Ledoux Professor of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate from the University of Iowa. He is the author of The Films of Carl Theodor Dreyer (University California Press, 1981), Narration in the Fiction Film (University Wisconsin Press, 1985), Ozu and the Poetics of Cinema (British Film Institute/Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997) and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000). He has won a University Distinguished Teaching Award.

Contenuti:

Preface

Introduction: Film History and How It Is Done

Why Do We Care About Old Movies?

What do Film Historians Do?

Our Approach to Film History

History as Story

PART ONE: EARLY CINEMA

1 THE INVENTION AND EARLY YEARS OF THE CINEMA, 1880s-1904

The Invention of the Cinema

Preconditions for Motion Pictures

Major Precursors of Motion Pictures

An International Process of Invention

Early Filmmaking and Exhibition

Scenics, Topicals, and Fiction Films

Creating an Appealing Program

The Growth of the French Film Industry

England and the "Brighton School"

The United States: Competition and the Resurgence of Edison

Notes and Queries

Identification and Preservation of Early Films

Reviving Interest in Early Cinema: The Brighton Conference

References

Further Reading

2 THE INTERNATIONAL EXPANSION OF THE CINEMA, 1905-1912

Film Production in Europe

France: Pathé versus Gaumont

Italy: Growth through Spectacle

Denmark: Nordisk and Ole Olsen

Other Countries

The Struggle for the Expanding American Film Industry

The Nickeodeon Boom

The Motion Picture Patents Company versus the Independents

Social Pressures and Self-Censorship

The Rise of the Feature Film

The Star System

The Movies Move to Hollywood

The Problem of Narrative Clarity

Early Moves toward Classical Storytelling

Intertitles

Camera Position and Acting

Color

Set Design and Lighting

The Beginnings of the Continuity System

An International Style

Notes and Queries

Griffith's Importance in the Development of Film Style

References

Further Reading

3 NATIONAL CINEMAs, HOLLYWOOD CLASSICISM, AND WORLD WAR I, 1913-1919

The American Takeover of World Markets

The Rise of National Cinemas

Germany

Italy

Russia

France

Denmark

Sweden

The Classical Hollywood Cinema

The Major Studios Begin to Form

Controlling Filmmaking

Filmmaking in Hollywood during the 1910s

Films and Filmmakers

Streamlining American Animation

Small Producing Countries

Notes and Queries

The Ongoing Rediscovery of the 1910s

Further Reading

PART TWO: THE LATE SILENT ERA, 1919-1929

4 FRANCE IN THE 1920S

The French Film Industry after World War I

Competition from Imports

Disunity within the Film Industry

Outdated Production Facilities

Major Postwar Genres

The French Impressionist Movement

The Impressionists' Relation to the Industry

Impressionist Theory

Formal Traits of Impressionism

The End of French Impressionism

The Filmmakers Go Their Own Ways

Problems within the Film Industry

Notes and Queries

French Impressionist Theory and Criticism

Restoration Work on Napoléon

References

Further Reading

5 GERMANY IN THE 1920s

The German Situation after World War I

Genres and Styles of German Postwar Cinema

Spectacles

The German Expressionist Movement

Kammerspiel

German Films Abroad

Major Changes in the Mid- to Late 1920s

The Technological Updating of the German Studios

The End of Inflation

The End of the Expressionist Movement

New Objectivity

Export and Classical Style

Notes and Queries

German Cinema and German Society

Expressionism, New Objectivity, and the Other Arts

References

Further Reading

6 SOVIET CINEMA IN THE 1920s

The Hardships of War Communism, 1918-1920

Recovery under the New Economic Policy, 1921-1924

Increased State Control and the Montage Movement, 1925-1930

Growth and Export in the Film Industry

The Influence of Constructivism

A New Generation: The Montage Filmmakers

The Theoretical Writings of Montage Filmmakers

Soviet Montage Form and Style

Other Soviet Films

The Five-Year Plan and the End of the Montage Movement

Notes and Queries

Film Industry and Governmental Policy: A Tangled History

The Kuleshov Effect

The Russian Formalists and the Cinema

References

Further Reading

7 THE LATE SILENT ERA IN HOLLYWOOD, 1920-1928

Theater Chains and the Structure of the Industry

Vertical Integration

Picture Palaces

The Big Three and the Little Five

The Motion Picture Producers and Distributors of America

Studio Filmmaking

Style and Technological Changes

Big-Budget Films of the 1920s

New Investments and Blockbusters

Genres and Directors

Foreign Filmmakers in Hollywood

Films for African-American Audiences

The Animated Part of the Program

Notes and Queries

The Rediscovery of Buster Keaton

References

Further Reading

8 INTERNATIONAL TRENDS OF THE 1920s

"Film Europe"

Concrete Steps toward Co-operation

Success Cut Short

The "International Style"

Carl Dreyer: European Director

Film Experiments Outside the Mainstream Industry

Documentary Features Gain Prominence

Commercial Filmmaking Internationally

Japan

Great Britain

Italy

Some Small Producing Countries

Notes and Queries

Different Versions of Silent Classics

References

Further Reading

PART THREE: THE DEVELOPMENT OF SOUND CINEMA, 1926-1945

9 THE INTRODUCTION OF SOUND

Sound in the United States

Warner Bros. and Vitaphone

Sound-on-Film Is Adopted

Sound and Filmmaking

Germany Challenges Hollywood

Dividing the International Pie

The Early Sound Era in Germany

The USSR Pursues Its Own Path to Sound

The International Adoption of Sound

France

Great Britain

Japan

Wiring the World's Theaters for Sound

Crossing the Language Barrier

Notes and Queries

Filmmakers on the Coming of Sound

Sound and the Revision of Film History

References

Further Reading

10 THE HOLLYWOOD STUDIO SYSTEM, 1930-1945

The New Structure of the Film Industry

The Big Five

The Little Three

The Independents

Exhibition Practice in the 1930s

Continued Innovation in Hollywood

Sound Recording

Camera Movement

Technicolor

Special Effects

Cinematography Styles

Major Directors

The Older Generation

New Directors

Émigré Directors

Genre Innovations and Transformations

The Musical

The Screwball Comedy

The Horror Film

The Social Problem Film

The Gangster Film

Film Noir

The War Film

Animation and the Studio System

Notes and Queries

The Controversy over Orson Welles

References

Further Reading

11 OTHER STUDIO SYSTEMS

Quota Quickies and Wartime Pressures: The British Studios

The British Film Industry Grows

Export Successes

Alfred Hitchcock's Thrillers

Crisis and Recovery

The Effects of the War

Innovation within an Industry: The Studio System of Japan

Popular Cinema of the 1930s

The Pacific War

India: An Industry Built on Music

A Highly Fragmented Business

Mythologicals, Socials, Devotionals

Independents Weaken the System

China: Filmmaking Caught between Left and Right

Notes and Queries

Japanese Cinema Rediscovered

References

Further Reading

12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945

The Soviet Union: Socialist Realism and World War II

Films of the Early 1930s

The Doctrine of Socialist Realism

The Main Genres of Socialist Realism

The Soviet Cinema in Wartime

The German Cinema under the Nazis

The Nazi Regime and the Film Industry

Films of the Nazi Era

The Aftermath of the Nazi Cinema

Italy: Propaganda versus Entertainment

Industry Tendencies

A Cinema of Distraction

A New Realism?

Notes and Queries

The Case of Leni Riefenstahl

References

Further Reading

13 FRANCE: POETIC REALISM, THE POPULAR FRONT AND THE OCCUPATION, 1930-1945

The Industry and Filmmaking during the 1930s

Production Problems and Artistic...

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