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This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: 1. What Is a Movie? Learning Objectives Looking at Movies Form and Content Form and Expectations Patterns Principles of Film Form Movies Manipulate Space and Time in Unique Ways Movies Depend on Light Photography Series Photography Motion Picture Photography Movies Provide an Illusion of Movement Realism and Antirealism Verisimilitude Cinematic Language Types of Movies Narrative Films Genre Nonfiction Films Animated Films Experimental Films Summary: What Is a Movie? Analyzing Movies Screening Checklist: What Is a Movie? Questions for Review Movies Described or Illustrated in This Chapter 2. Narrative Learning Objectives What Is Narrative? The Screenwriter Evolution of a Typical Screenplay Elements of Narrative Story and Plot Order Events: Hubs and Satellites Duration Suspense Versus Surprise Repetition Characters Setting Scope Narration and Narrators Looking at Narrative: John Ford\'s Stagecoach Story Plot Order Diegetic and Nondiegetic Elements Hubs and Satellites Duration Suspense Repetition Characters Setting Scope Narration Analyzing Narrative Screening Checklist: Narrative Questions for Review Movies Described or Illustrated in This Chapter 3. Mise-en-Scene Learning Objectives What Is Mise-en-Scene? Design The Production Designer Elements of Design Setting, Decor, and Properties Lighting Costume, Makeup, and Hairstyle International Styles of Design Composition Framing: What We See on the Screen Onscreen and Offscreen Space Open and Closed Framing Kinesis: What Moves on the Screen Movement of Figures Within the Frame Looking at Mise-en-Scene Tim Burton\'s Sleepy Hollow Sam Mendes\'s American Beauty Michael Almereyda\'s Hamlet Analyzing Mise-en-Scene Screening Checklist: Mise-en-Scene Questions for Review Movies Described or Illustrated in This Chapter 4. Cinematography Learning Objectives What Is Cinematography? The Director of Photography Cinematographic Properties of the Shot Film Stock Black and White Color Lighting Source Quality Direction Style Lenses Framing of the Shot Proximity to the Camera Depth Camera Angle and Height Eye Level High Angle Low Angle Dutch Angle Aerial View Scale Camera Movement Pan Shot Tilt Shot Dolly Shot Zoom Crane Shot Handheld Camera Steadicam Framing and Point of View Speed and Length of the Shot Special Effects In-Camera, Mechanical, and Laboratory Effects Computer-Generated Imagery Analyzing Cinematography Screening Checklist: Cinematography Questions for Review Movie. Bookseller Inventory #

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Looking at Movies, Second Edition, offers students everything they need to understand and appreciate film: a visually dynamic presentation, more help with film analysis than any other text, and a sophisticated and integrated media package featuring nearly four hours of moving-image content.

The text, DVDs, website, and writing guide package costs less than competing texts alone, making Looking at Movies an outstanding value for your students. Includes two DVDs, access to the student website, and a supplementary Writing About Movies guide. Also available as an eBook.

About the Author: Richard Barsam (Ph.D., University of Southern California) is Professor Emeritus of Film Studies at Hunter College, City University of New York. He is the author of Nonfiction Film: A Critical History (rev., exp. ed. 1992), The Vision of Robert Flaherty: The Artist as Myth and Filmmaker (1988), In the Dark: A Primer for the Movies (1977), and Filmguide to "Triumph of the Will" (1975); editor of Nonfiction Film Theory and Criticism (1976); and contributing author to Paul Monaco’s The Sixties: 1960–1969 (Vol. 8, History of the American Cinema, 2001) and Filming Robert Flaherty’s "Louisiana Story": The Helen Van Dongen Diary (ed. Eva Orbanz, 1998). His articles and book reviews have appeared in Cinema Journal, Quarterly Review of Film Studies, Film Comment, Studies in Visual Communication, and Harper’s. He has been a member of the Executive Council of the Society for Cinema and Media Studies, the Editorial Board of Cinema Journal, and the Board of Advisers of the History of American Cinema series, and he cofounded the journal Persistence of Vision.

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