This text looks at film from part to whole--from the shot and the cut to the cultural, political, and economic contexts in which films are made. "Teaching Film is about getting control of the image and handing that control over to students," argues author Robert Kolker, and that's just what he does in his teaching and writing about film, including in this outstanding textbook and DVD-ROM package.
The new edition includes more detailed discussion of the shot, composition, editing, and genre; a thorough discussion of the technical and aesthetic changes resulting from film's digital transformation; and a revised discussion of the cultural context of film. The companion interactive DVD-ROM includes segments from classic and contemporary films, with explanatory text, stills, and animations illustrating key film elements and strategies.
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Robert Kolker has taught film studies for over thirty years. He is the author of several books on film. A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman, published by Oxford University Press, is in its third edition. His book on European film, The Altering Eye, is now on the World Wide Web at http://otal.umd.edu/~rkolker/AlteringEye. He has recently published a "casebook" of criticism on Hitchcock's Psycho, and a companion collection of new essays on Kubrick's 2001: A Space Odyssey. He is editor of Oxford University Press's Handbook of Film and Media Studies and is currently writing a book on the films of Orson Welles and Stanley Kubrick.
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Book Description McGraw-Hill Humanities/Social Sciences/Languages, 2005. Paperback. Book Condition: New. book. Bookseller Inventory # 0073123617
Book Description McGraw-Hill Humanities/Social Sciences/Languages, 2005. Paperback. Book Condition: New. 3. Bookseller Inventory # DADAX0073123617
Book Description McGraw-Hill Humanities/Social Sciences/Languages, 2005. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Preface Introduction Chapter One: Image and Reality IMAGES OF IMAGES The "Truth" of the Image The Urge to Represent "Reality" Perspective and the Pleasures of Tricking the Eye Photography and Reality Manipulation of the Image Reality as Image FROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGE Moving Images NOTES AND REFERENCES Chapter Two: Formal Structures: How Films Tell Their Stories THE IMAGE, THE WORLD, AND THE FILM STUDIO From Image to Narrative THE ECONOMICS OF THE IMAGE The System Develops: Buster Keaton and Charlie Chaplin The Growth of Corporate Filmmaking THE CLASSICAL HOLLYWOOD STYLE Fabricating the Image The Whole and Its Parts Making the Parts Invisible Story, Plot, and Narration Convention And Consciousness Notes and References Chapter Three: Building Blocks I: The Shot THE SHOT COMPOSITION: THE SIZE OF THE FRAME Cinerama Anamorphic and "Flat" Wide Screen Processes Loss of Standards HOW COMPOSITION WORKS Composition in Early Cinema D.W. Griffith The 90-degree Rule The Studios and the Shot MISE-EN-SCNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULES MISE-EN-SCNE IN STERNBERG, MURNAU, AND HITCHCOCK ORSON WELLES AND THE REINVENTION OF COMPOSITION Deep Focus and The Long Take WORKING AGAINST THE RULES LIGHTING AND COLOR COMPOSING IN WIDE SCREEN THE MOVING CAMERA NOTES AND REFERENCES Chapter Four: Building Blocks II: The Cut THE DEVELOPMENT OF CONTINUITY CUTTING Griffith and Cutting Shot/Reverse Shot Point Of View Sight Lines The 180-degree Rule CONVENTION, CULTURE, RESISTANCE Gender Coding Responses To Conventional Cutting Eisensteinian Montage The Narrative of the Classical Style Avant-Garde Film Working Creatively Within and Against Conventions NOTES AND REFERENCES Chapter Five: The Story Tellers of Film I COLLABORATION AS CREATIVITY CREATIVE CRAFTSPEOPLE Cinematographer Production Designer Computer Designer Sound Designers Editor Composer Screenwriter Actors Producer Notes and References Chapter Six: The Story Tellers of Film II: The Film Director EUROPEAN ORIGINS THE BIRTH OF THE AUTEUR THE AUTEUR THEORY Robert Altman Martin Scorsese Stanley Kubrick Alfred Hitchcock WOMEN AUTEURS Women's Avant-garde Films Maya Deren Alice Guy-Blachegrave; and Lois Weber Dorothy Arzner Ida Lupino Women Filmmakers Today Julie Dash, Julie Taymor, and Chantal Akerman THE AUTEUR ABROAD AUTEURISM TODAY NOTES AND REFERENCES Chapter Seven: Film as Cultural Practice FILM IN THE REALM OF CULTURE CULTURE AS TEXT Subcultures Media and Cultures The New Web THEORIES OF CULTURE The Frankfurt School The Critique of American Popular Culture High Culture, Masscult, and Midcult Walter Benjamin and the Age of Mechanical Reproduction The Aura of State Intervention The Birmingham School of Cultural Studies Reception and Negotiation Judgment and Values Intertextuality and Postmodernism CULTURAL CRITICISM APPLIED TO VERTIGO AND DIE HARD The Cultural-Technological Mix: Film and Television Bruce Willis, TV, and Movies The Actor's Persona: Bruce Willis and James Stewart Vertigo and the Culture of the Fifties The Kinsey Reports The Vulnerable Male in Film Postmodern Villains Ethnicity in Die Hard The Buddy Film The End of Redemption NOTES AND REFERENCES Chapter Eight: The Stories Told By Film I MASTER NARRATIVES AND DOMINANT FICTIONS Closure The Master and the Dominant Narrative Constraints Censorship GENRE Subgenres Genre and Gesture<h5. Bookseller Inventory # ABE_book_new_0073123617
Book Description McGraw-Hill Humanities/Social, 2005. Paperback. Book Condition: New. Bookseller Inventory # P110073123617
Book Description McGraw-Hill Higher Education, 2005. Paperback. Book Condition: Brand New. 3rd paperback/cd-rom edition. 256 pages. 9.00x7.25x0.50 inches. In Stock. Bookseller Inventory # zk0073123617