Written by two of the leading scholars in film studies, Film History: An Introduction is a comprehensive, global survey of the medium that covers the development of every genre in film, from drama and comedy to documentary and experimental. As with the authors' bestselling Film Art: An Introduction (now in its eighth edition), concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic points of reference than competing books that rely on publicity stills.
The third edition of Film History is thoroughly updated and includes the first comprehensive overviews of the impact of globalization and digital technology on the cinema. Any serious film scholar--professor, undergraduate, or graduate student--will want to read and keep Film History.
Visit the author's blog at http://www.davidbordwell.net/blog/
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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: A Neoformalist Analysis (Princeton University Press, 1981), Exporting Entertainment: America in the World Film Market 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), Wooster Proposes, Jeeves Disposes, or, Le Mot Juste (James H. Heineman, 1992), Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Harvard University Press, 1999), Storytelling in Film and Television (Harvard University Press, 2003), Herr Lubitsch Goes to Hollywood: German and American Film after World War I (Amsterdam University Press, 2005), and The Frodo Franchise: The Lord of the Rings and Modern Hollywood (University of California Press, 2007). She blogs with David at www.davidbordwell.net/blog. She maintains her own blog, "The Frodo Franchise," at www.kristinthompson.net/blog. In her spare time she studies Egyptology.
David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate in film from the University of Iowa. His books include The Films of Carl Theodor Dreyer (University of California Press, 1981), Narration in the Fiction Film (University of Wisconsin Press, 1985), Ozu and the Poetics of Cinema (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), Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000), Figures Traced in Light: On Cinematic Staging (University of California Press, 2005), The Way Hollywood Tells It: Story and Style in Modern Movies (University of California Press, 2006), and The Poetics of Cinema (Routledge, 2008). He has won a University Distinguished Teaching Award and was awarded an honorary degree by the University of Copenhagen. His we site is www.davidbordwell.net.
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Book Description McGraw-Hill, 2009. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: 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 Early Filmmaking and Exhibition 2 The International Expansion of the Cinema, 1905-1912 Film Production in Europe The Struggle for the Expanding American Film Industry The Problem of Narrative Clarity 3 National Cinemas, Hollywood Classicism and World War I, 1913-1919 The American Takeover of World Markets The Rise of National Cinemas The Classical Hollywood Cinema Small Producing Countries Part Two: The Late Silent Era, 1919-1929 4 France in the 1920s The French Film Industry after World War I Major Postwar Genres The French Impressionist Movement The End of French Impressionism 5 Germany in the 1920s The German Situation after World War I Genres and Styles of German Postwar Cinema Major Changes in the Mid- to Late 1920s The End of the Expressionist Movement New Objectivity Export and Classical Style 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 Other Soviet Films The Five-Year Plan and the End of the Montage Movement 7 The Late Silent Era in Hollywood, 1920-1928 Theater Chains and the Structure of the Industry The Motion Picture Producers and Distributors of America Studio Filmmaking Films for African-American Audiences The Animated Part of the Program 8 International Trends of the 1920s "Film Europe" The "International Style" Film Experiments Outside the Mainstream Industry Documentary Features Gain Prominence Commercial Filmmaking Internationally Part Three: The Development of Sound Cinema, 1926-1945 9 The Introduction of Sound Sound in the United States Germany Challenges Hollywood The USSR Pursues Its Own Path to Sound The International Adoption of Sound 10 The Hollywood Studio System, 1930-1945 The New Structure of the Film Industry Exhibition Practice in the 1930s Continued Innovation in Hollywood Major Directors Genre Innovations and Transformations Animation and the Studio System 11 Other Studio Systems Quota Quickies and Wartime Pressures: The British Studios Innovation within an Industry: The Studio System of Japan India: An Industry Built on Music China: Filmmaking Caught between Left and Right 12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945 The Soviet Union: Socialist Realism and World War II The German Cinema under the Nazis Italy: Propaganda versus Entertainment 13 France: Poetic Realism, the Popular Front and the Occupation, 1930-1945 The Industry and Filmmaking during the 1930s Poetic Realism Brief Interlude: The Popular Front Filmmaking in Occupied and Vichy France 14 Leftist, Documentary, and Experimental Cinema, 1930-1945 The Spread of Political Cinema Government- and Corporate-sponsored Documentaries Wartime Documentaries The International Experimental Cinema Part Four: The Postwar Era, 1946-1960s 15 American Cinema in the Postwar Era, 1946-1960 1946/1947/1948 The Decline of the Hollywood Studio System The New Power of the Individual Film The Rise of the Independents Classical Hollywood Filmmaking: A Continuing Tradition Major Directors: Several Generations 16 Postwar European Cinema: Neorealism and its Context, 1945-1959 The Postwar Context Film Industries and Film Culture Italy: Neorealism and After A Spanish Neorealism? 17 Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 French Cinema of the Postwar Decade Scandinavian Revival England: Quality and Comedy 18 Postwar Cinema Be. Bookseller Inventory # ABE_book_new_0073386138
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