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• Introduction
• About This Book
• Foolish Assumptions
• Icons Used in This Book
• Beyond the Book
• Where to Go from Here
• Part I: Getting Started with Film Studies
• Chapter 1: Becoming a Fantastic Film Student
• Upping Your Cinematic Game
• Going beyond merely watching films
• Connecting film studies to other stuff you can study
• Focusing on creativity, industry and technology
• Writing about films: Reviews, criticism and academic style
• Studying Pictures, Moving and Otherwise
• Reading a painting or drawing
• Reading a photograph
• Capturing movement in film
• Expressing Why Film Matters to the World
• Probing into politics
• Reviewing race and nationality
• Exploring gender
• Chapter 2: Putting Words and Pictures into Motion: The Film-Making Team
• Helming a Film: Directors and Their Collaborators
• Thickening the Plot: Screenwriters
• ‘Authoring’ a film
• Studying screenwriting
• Writing action
• Writing dialogue
• Showing Them the Money: Film Producers
• Giving producers their due
• Producing the studio goods
• Going it alone: Independent producers
• Painting with Light: Cinematographers
• Directing the photography
• Achieving ‘the look’
• Harnessing technology
• Getting the Film in the Can: Production
• Setting the scene: Art directors
• Turning the creative vision into a reality: Technical crew
• Putting the Footage on the Screen: Post-Production
• Cutting and constructing: Editors
• Amplifying the images: Sound designers and composers
• Visualising the impossible: Special-effects artists
• Chapter 3: Watching the Stars Come Out: Film Stars, and Why We Love Them
• Surveying Stars, in All Their Extraordinary Ordinariness
• Distinguishing stars from actors
• Analysing star image
• Seeing stars as commodities
• Identifying with stars
• Sexing up the screen
• Working like a star: Acting, performing, inhabiting
• Exploring a World of Stars
• Pondering European stardom
• Seeing the new Hollywood in Bollywood
• Separating Stardom and Celebrity
• Living private lives in the public gaze
• Star-making in the 21st century
• Chapter 4: Building Movie Stories
• Uncovering Mise-en-Scène
• Analysing a scene
• Looking deeply at all that stuff
• Presenting the world as you know it (sort of)
• Creating emotional pictures: Melodramatic mise-en-scène
• Speaking the Language and Grammar of Film
• Making a scene (and a sequence)
• Selecting shots
• Solving the Puzzle: Editing Film
• Getting the story moving
• Piecing together a film: Continuity editing
• Considering alternatives to the classical model
• Charting the Roles of Characters in Narrative
• Causing an effect with an event
• Characterising heroes and villains
• Meeting sidekicks and helpers
• Listening and Understanding Film Sound
• Playing with emotions
• Distinguishing between diegetic and non-diegetic sound
• Listening to unheard melodies: Film music
• Part II: Taking All Types: Genres, Modes and Style
• Chapter 5: Distinguishing Films by Type: Genres and Style
• Defining Genre
• Banking on genre: The Hollywood Machine
• Enjoying repetition – up to a point
• Bending genres
• Appreciating What a Man’s Got to Do: Westerns
• Linking westerns and the birth of Hollywood
• Seeing why westerns are westerns
• Pitting two sides against each other
• Letting Yourself Go: Musicals
• Showcasing fantastic performers
• Integrating numbers with plot
• Feeling better through musicals
• Lurking in the Shadows: Horror
• Drawing first blood
• Facing your inner demons
• Having nightmares on Elm Street and elsewhere
• Voyaging Beyond: Sci-Fi
• Rocketing to the moon
• Exploring imaginary worlds
• Dreaming of electric sheep and mechanical men
• Peering Through the Darkness: Film Noir
• Testing the limits of genre
• Seeing noir as a style
• Detecting spider women and their prey
• Watching Boy Meet Girl, Time and Again: Romantic Comedy
• Romancing the same old story
• Digging deeper into chick flicks
• Feeling bromantic
• Chapter 6: Getting Animated about Animation
• Considering Much More than Kids’ Stuff
• Bringing images to life
• Making kids (and grown-ups) laugh
• Animating counterculture
• Going full circle: Cinema gets animated
• Touring the Great Cartoon Factories
• Disney: The mouse shall inherit the Earth
• The Fleischer brothers: Betty pops out of the inkwell
• Warner Bros.: Daffy Duck, Porky Pig and related anarchists
• Pixar: Not just a Toy Story
• Spanning the Globe: A World of Cartoons
• Taking over, one toon at a time
• Playing it straight? European animation
• Drawing a history of violence: Animation from the Middle East
• Chapter 7: Leading from the Front: Avant-Garde Film
• Advance! Attempting to Pin Down the Avant-Garde
• Standing against the mainstream
• Sampling the many facets of the avant-garde
• Determining when a cartoon isn’t just a cartoon
• Exploring Three Important Avant-Garde Ideas
• Playing around with time
• Not worrying about the story
• Embracing abstract images
• Drifting Off into a World of Dreams
• Dissecting cows and priests in chains
• Going into a cinematic trance
• Mixing with the Mainstream: Avant-garde Everywhere
• Chapter 8: Getting Real: The Truth about Documentary
• Shaping Reality with Documentary Films
• Comparing the documentary to fiction and to real life
• Sorting documentaries: Six modes
• Weighing documentary ethics
• Capturing the 20th Century on Camera
• Meeting plain-speaking Russians
• Exploring the world and its people
• Filming poetry or propaganda? World War II on film
• Reclaiming objectivity: Direct cinema and cinéma vérité
• Blending the Real and the Unreal: Documentary Today
• Questioning America the beautiful
• Marching with penguins and other creatures
• Documenting digitally
• Part III: Travelling a World of Wonders: Global Cinema
• Chapter 9: Bringing Hollywood into Focus
• Running the Dream Factory
• Mass producing movies
• Controlling the supply chain
• Dominating international markets
• Appealing to everyone, offending no one
• Re-viewing Hollywood History
• Laying foundations for the Golden Age
• Breaking up the studio system: The United States versus Paramount Pictures
• Rolling with the changes: New Hollywood
• Heading Back to the Future: Blockbusters, Franchises and Indiewood
• Eating Hollywood: Jaws
• Deciphering agent-speak: Packaging, high concept and synergy
• Acting like kids: Family franchise fun
• Behaving like grown-ups: Indiewood
• Chapter 10: Enjoying the British Invasion: From Brit-Grit to Frock Flicks
• Getting Real: Brit-Grit
• Paying for Free Cinema
• Breaking the New (British) Wave
• Finding poetry in common places
• Meeting of the Screens: Big and Small
• Assessing British television’s influence on film
• Coming to the British film industry’s rescue: Channel 4
• Leaping from TV to cinema screen
• Adapting Great Works: ‘Oh, Mr Darcy!’
• Reviving the classics, over and over
• The past today: Heritage films
• Beating Hollywood at Its Own Game
• Producing local films for local people
• Bonding with Bond, James Bond
• Casting a spell: Harry Potter and the magical franchise
• Chapter 11: Admiring European Films: Culture and Commerce
• Answering a Not-So-Simple Question: What Is European Cinema, Anyway?
• Making a Rendezvous with French Cinema
• Travelling from poetic realism to new extremism
• Making an exception for French cinema
• Appreciating a glamorous business: The Cannes Film Festival
• Stepping Out of the Darkness: German Cinema
• Lurking in the shadows: German Expressionism
• Recreating (New) German Cinema
• Melding Style and Substance: Italian Cinema
• Finding heroes on the street: Neorealism
• Featuring swords, sandals and naughty nuns: Italian genre and exploitation films
• Meeting the prince of laughter: Totò
• Watching Freedom Explode: Spanish Cinema
• Considering Fascism and Catholicism
• Returning of the repressed: Pedro Almódovar
• Chapter 12: Mixing Monsters, Musicals and Melodrama: World Cinema
• Expanding Vision: World Cinema and Third Cinema
• Journeying into Japanese Cinema: Godzilla, Anime and More
• Reaching back to classical cinema, Japanese style
• Facing an incredible, unstoppable titan of terror!
• Agreeing that anime rules, okay
• Investigating Indian Cinema: Bollywood and Beyond
• Making a song and dance of Bollywood
• Pondering Bengali film: World or parallel cinema?
• Taking Bollywood global
• Looking to Latin America Cinema
• Brazil: Hollywood in the tropics?
• Cuba: Small cinema, big ideas
• Mexico’s modern auteurs
• Part IV: Bringing In the Big Ideas: Theories and Beyond
• Chapter 13: Theorising about Film: How Movies Work
• Building a Foundation of Film Theory: Text, Context and Spectator
• Formalism: What is a film?
• Realism: Does film reflect reality?
• Reception: What is a spectator?
• Shaping Society with Film: Marxism
• Meeting Marx (Karl, not Groucho)
• Spending time with the Frankfurt School: Fun is bad
• Negotiating between culture and behaviour: Ideology
• Taking Films to Bits: Structuralism
• Linking linguistics and film: Saussure
• Sampling film semiotics: Metz
• Meeting mythic structures: Lévi-Strauss
• Getting into Your Head: Psychoanalysis and Film
• Delving into dreams: Freud and film
• Leaping through the looking glass: Lacan
• Rejecting the male gaze: Mulvey
• Chapter 14: Praising Great Directors: Auteur Theory
• Seeing the Director as God
• Digging to the roots of auteur theory
• Linking auteur, theme and genre
• Seeing the auteur in mise-en-scène
• Debunking auteur theory
• Encountering Old-School Auteurs (1930s to 1950s)
• John Ford: The American landscape
• Howard Hawks: Screwball and highballs
• Alfred Hitchcock: The master of suspense
• Michael Powell and Emeric Pressburger: Two for the price of one
• Orson Welles: The self-styled genius
• Meeting the Essential Modern Auteurs (1960s to 1990s)
• Stanley Kubrick: An epic perfectionist
• Martin Scorsese: Storyteller of the streets
• Steven Spielberg: The kid who never grew up
• Quentin Tarantino: Uber-movie-geek
• David Lynch: The American nightmare
• Turning Attention to 21st Century Auteurs (1999 to today)
• Ang Lee: The hidden dragon
• Christopher Nolan: Worlds within worlds
• Kathryn Bigelow: Boys and their guns
• Guillermo del Toro: Monster moviemaker
• Chapter 15: Exploring New Approaches to Film Theory – and Beyond
• Multiplying Meaning: Post-Structuralism
• Discerning the difference between structuralism and post-structuralism
• Deconstructing texts and discourses
• Dismantling empires: Post-colonialism
• Realising Nothing Matters Anymore: Postmodernism
• Narrating the end of history
• Getting super-excited about hyper-realism
• Going for girl power! Post-feminism
• Moving beyond gender: Queer theory
• Reaching the End of Everything: Post-Theory?
• Smashing the SLAB: Bordwell takes aim
• Striking back at Bordwell
• Thinking about thinking: Cognitive theory
• Chapter 16: Outliving Celluloid: Cinema in the 21st Century
• Revising Rumours of Cinema’s Death: Still Watching, Just Differently
• Cinema-going over the decades
• Shifting from celluloid strips to hard disk drives
• Transitioning to digital, holding onto analogue
• Changing Where, How and When You Watch
• Experiencing cinema nowadays
• Watching films amid the comforts of home
• Collapsing the release window
• Converging on the Next Phase: Film and Everything Else
• Reassessing event movies
• Elevating everyone to film-maker status (sort of)
• Raising the bar: TV catches up with cinema
• Stealing pleasure
• Part V: The Part of Tens
• Chapter 17: Ten Film Writers You Need to Read
• VF Perkins: Analysing Film Style
• Richard Dyer: Watching Stars and Developing Queer Theory
• Tom Gunning: Reassessing Early Cinema
• Molly Haskell: Engaging with Feminism and Film
• Yvonne Tasker: Analysing Action Cinema
• Michel Chion: Speaking Up for Film Sound
• Richard Maltby: Investigating Cinema History
• Nicholas Rombes: Discovering Digital Cinema
• Hamid Naficy: Exploring Accented Cinema
• Charles Barr: Battling for British Cinema
• Chapter 18: Ten Must-Watch Movies
• Sherlock, Jr. (1924)
• Casablanca (1942)
• Singin’ in the Rain (1952)
• Rear Window (1954)
• À Bout de Souffle (Breathless) (1960)
• Don’t Look Now (1973)
• Blade Runner (1982)
• Pulp Fiction (1994)
• Spirited Away (2001)
• Cidade de Deus (City of God) (2002)
• Chapter 19: Ten Film-Makers You Need to Know Better
• Feng Xiaogang
• Alice Guy-Blaché
• Ousmane Sembène
• Roger Corman
• Lynne Ramsay
• Abbas Kiarostami
• John Waters
• Christine Vachon
• Andrei Tarkovsky
• Wong Kar-wai
• Chapter 20: Ten Tips for Becoming a Film Student
• Going to the Pictures Often
• Making Sure You See the Classics
• Watching and Re-watching
• Reading about Film in Your Free Time
• Thinking about What Films Mean to You
• Joining a Film Studies Tribe
• Not Taking Awards Too Seriously
• Attending Film Festivals and Events
• Developing a Love for Subtitles
• Being Proud of Your Knowledge
• About the Author
• Cheat Sheet
• More Dummies Products