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• About this Book
• Cover Page
• Inside Front Cover
• Title Page
• Copyright Page
• Dedication
• About the Authors
• Preface
• Brief Contents
• Contents
• Halftitle Page
• Part 1 Cultural Contexts: Watching, Studying, and Making Movies
• Chapter 1 Encountering Film: From Preproduction to Exhibition
• Production: How Films Are Made
• Preproduction
• Production
• Postproduction
• Distribution: What We Can See
• Distributors
• Ancillary Markets
• Distribution Timing
• Marketing and Promotion: What We Want to See
• Film in Focus: Distributing Killer of Sheep (1977)
• Generating Interest
• Advertising
• Technology in Action: The Changing Technologies of Film Promotion
• Viewing Cue: Suicide Squad (2016)
• Word of Mouth and Fan Engagement
• Movie Exhibition: The Where, When, and How of Movie Experiences
• The Changing Contexts and Practices of Film Exhibition
• Technologies and Cultures of Exhibition
• The Timing of Exhibition
• Film in Focus: Exhibiting Citizen Kane (1941)
• Chapter 1 Review
• Summary
• Key Terms
• Chapter 2 History and Historiography: Hollywood and Beyond
• Silent Cinema (1895–1929)
• Silent Features in Hollywood
• German Expressionist Cinema
• Soviet Silent Films
• French Cinema
• History Close Up: Oscar Micheaux
• Classical Cinema (1929–1945)
• European Cinema in the 1930s and 1940s
• Golden Age Mexican Cinema
• Postwar Cinemas (1945–1975)
• Postwar Hollywood
• International Art Cinema
• Viewing Cue: Gilda (1946) and Rome, Open City (1945)
• Film in Focus: Mother India and Postwar History (1957)
• Cinematic Globalization (1975–2000)
• New Hollywood in the Blockbuster Era
• The Commercial Auteur
• American Independent Cinema
• From National to Transnational Cinema in Europe
• African Cinema
• Chinese Cinema
• Iranian Cinema
• Cinema in the Digital Era (2000–present)
• Global Hollywood
• Diversifying Screens
• Viewing Cue: Beyond the Lights (2014)
• Film Culture in the Twenty-First Century
• Technology in Action: Film Preservation and Archives
• Film in Focus: Rediscovering Within Our Gates (1920)
• Chapter 2 Review
• Summary
• Key Terms
• Part 2 Formal Compositions: Film Scenes, Shots, Cuts, and Sounds
• Chapter 3 Mise-en-Scène: Exploring a Material World
• A Short History of Mise-en-Scène
• Theatrical Mise-en-Scène and the Prehistory of Cinema
• 1900–1912: Early Cinema’s Theatrical Influences
• 1915–1928: Silent Cinema and the Star System
• 1930s–1960s: Studio-Era Production
• 1940–1970: New Cinematic Realism
• 1975–Present: Mise-en-Scène and the Blockbuster
• The Elements of Mise-en-Scène
• Settings and Sets
• Scenic Realism and Atmosphere
• Viewing Cue: Life of Pi (2012)
• Props, Costumes, and Lights
• Viewing Cue: Boyhood (2014)
• Performance: Actors and Stars
• Film in Focus: Mise-en-Scène in Do the Right Thing (1989)
• Technology in Action: Scenic Lighting
• Space and Design
• Thinking about Mise-en-Scène
• Mise-en-Scène as an External Condition or a Measure of Character
• Primary Traditions for Mise-en-Scène
• Film in Focus: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)
• Chapter 3 Review
• Summary
• Key Terms
• Chapter 4 Cinematography: Framing What We See
• A Short History of the Cinematic Image
• 1820s–1880s: The Invention of Photography and the Prehistory of Cinema
• 1890s–1920s: The Emergence and Refinement of Cinematography
• 1930s–1940s: Developments in Color, Wide-Angle, and Small-Gauge Cinematography
• 1950s–1960s: Widescreen, 3-D, and New Color Processes
• 1970s–1980s: Cinematography and Exhibition in the Age of the Blockbuster
• 1990s to the Present: The Digital Era
• The Elements of Cinematography
• Point of View
• Four Attributes of the Shot
• Viewing Cue: Touch of Evil (1958)
• Depth of Field
• Technology in Action: Color in Film
• Viewing Cue: Roma (2018)
• Viewing Cue: Fish Tank (2009)
• Viewing Cue: Barry Lyndon (1975)
• From Special Effects to Visual Effects
• Thinking about Cinematography
• The Image as Presentation and Representation
• Viewing Cue: Vertigo (1958)
• Traditions of Images
• Film in Focus: Recreating History in Once Upon a Time … in Hollywood (2019)
• Chapter 4 Review
• Summary
• Key Terms
• Chapter 5 Editing: Relating Images
• A Short History of Film Editing
• 1895–1918: Early Cinema and the Emergence of Editing
• 1919–1929: Soviet Montage
• History Close Up: Women in the Editing Room
• 1930–1959: Continuity Editing in the Hollywood Studio Era
• 1960–1989: Modern Editing Styles
• 1990s–Present: Editing in the Digital Age
• The Elements of Editing
• The Cut and Other Transitions
• Viewing Cue: Chinatown (1974)
• Continuity Style
• Viewing Cue: Tangerine (2015)
• Editing and Temporality
• Viewing Cue: The General (1927)
• Technology in Action: Editing, Then and Now
• Thinking about Film Editing
• Film in Focus: Patterns of Editing in Bonnie and Clyde (1967)
• Editing as a Subjective Experience or as an Objective Perspective
• Primary Traditions in Editing Practices: Continuity, Disjunctions, and Convergences
• Converging Editing Styles
• Chapter 5 Review
• Summary
• Key Terms
• Chapter 6 Film Sound: Listening to the Cinema
• A Short History of Film Sound
• Prehistories of Film Sound
• 1895–1920s: The Sounds of Silent Cinema
• 1927–1930: Transition to Synchronized Sound
• 1930s–1940s: Challenges and Innovations in Cinema Sound
• 1950s–1980s: From Stereophonic to Dolby Sound
• 1990s–Present: Sound in the Digital Era
• The Elements of Film Sound
• Sound and Image
• Technology in Action: Sound and Image
• Viewing Cue: Guardians of the Galaxy (2014)
• Film in Focus: Sound and Image in Singin’ in the Rain (1952)
• Sound Production
• Voice in Film
• Music in Film
• Sound Effects in Film
• Viewing Cue: The Thin Red Line (1998)
• Thinking about Film Sound
• Sound Continuity and Sound Montage
• Viewing Cue: Winter’s Bone (2010)
• Authenticity and Attention
• Film in Focus: The Sound of Silence in A Quiet Place (2018)
• Chapter 6 Review
• Summary
• Key Terms
• Part 3 Organizational Structures: From Stories to Genres
• Chapter 7 Narrative Films: Telling Stories
• A Short History of Narrative Film
• 1900–1920s: Adaptations, Scriptwriters, and Screenplays
• 1927–1950: The Coming of Sound and Classical Hollywood Narrative
• 1950–1980: Art Cinema
• 1980s–Present: Franchises, Narrative Reflexivity, and Games
• History Close Up: Salt of the Earth (1954)
• The Elements of Narrative Film
• Stories and Plots
• Characters
• Diegetic and Nondiegetic Elements
• Narrative Patterns of Time
• Viewing Cue: Shutter Island (2010)
• Narrative Space
• Narrative Perspectives
• Viewing Cue: The Royal Tenenbaums (2001)
• Technology in Action: Immersive Film Narrative
• Film in Focus: Narration and Gender in Gone Girl (2014)
• Thinking about Film Narrative
• Shaping Memory, Making History
• Narrative Traditions
• Viewing Cue: Midnight Cowboy (1969)
• Film in Focus: Classical and Alternative Traditions in Mildred Pierce (1945) and Daughters of the Dust (1991)
• Chapter 7 Review
• Summary
• Key Terms
• Chapter 8 Documentary Films: Representing the Real
• A Short History of Documentary Cinema
• A Prehistory of Documentaries
• 1895–1905: Early Actualities, Scenics, and Topicals
• The 1920s: Robert Flaherty and the Soviet Documentaries
• 1930–1945: The Politics and Propaganda of Documentary
• 1950s–1970s: New Technologies and the Arrival of Television
• 1980s–Present: Digital Cinema, Cable, and Reality TV
• The Elements of Documentary Films
• Nonfiction and Non-Narrative
• Expositions: Organizations That Show or Describe
• Viewing Cue: The Cove (2009)
• Film in Focus: Nonfiction and Non-Narrative in Stories We Tell (2013)
• Rhetorical Positions
• Viewing Cue: He Named Me Malala (2015)
• Thinking about Documentary Films
• Confronting Assumptions
• Altering Opinions
• Interpretive Contexts and Traditions
• History Close Up: Indigenous Media
• Technology in Action: Documentary Sound
• Chapter 8 Review
• Summary
• Key Terms
• Chapter 9 Animation and Experimental Media: Challenging Form
• A Short History of Animation and Experimental Media
• 1910s–1920s: Early Avant-Garde Movements
• 1930s–1940s: Sound and Vision
• Film in Focus: Avant-Garde Visions in Meshes in the Afternoon (1943)
• 1950s–1960s: International Animation and the Postwar American Avant-Garde
• History Close Up: Floyd Norman
• 1968–1980: Beyond North America
• 1989–Present: New Technologies and New Media
• Principles of Experimental Media and Animation
• Abstraction and Figuration
• Experimental Organizations: Associative, Structural, and Participatory
• Animation Modes: 2-D, 3-D, Stop-Motion
• Technology in Action: Animation through the Decades
• Thinking about Experimental Media and Animation
• Expanding Perception
• Experimental Film Styles and Approaches
• Viewing Cue: Gently Down the Stream (1981)
• Viewing Cue: The Future (2011)
• Film in Focus: Webs of Style in Spider-Man: Into the Spider-Verse (2018)
• Chapter 9 Review
• Summary
• Key Terms
• Chapter 10 Movie Genres: Conventions, Formulas, and Audience Expectations
• A Short History of Film Genre
• Historical Origins of Genres
• 1890s–1910s: Early Film Genres
• 1920s–1940s: Genre and the Studio System
• 1948–1970s: Postwar Film Genres
• 1970s–Present: New Hollywood, Sequels, and Global Genres
• The Elements of Film Genre
• Conventions
• Technology in Action: Special Effects and Iconography in Science Fiction
• Formulas and Myths
• Audience Expectations
• Six Movie Genres
• Comedies
• Westerns
• Melodramas
• Viewing Cue: The Searchers (1956)
• Musicals
• Viewing Cue: La La Land (2016)
• Horror Films
• Film in Focus: Genre and Gender in Jennifer’s Body (2009)
• Crime Films
• Thinking about Film Genre
• Prescriptive and Descriptive Approaches
• Classical and Revisionist Traditions
• Viewing Cue: Unforgiven (1992)
• History Close Up: John Waters and Midnight Movies
• Local and Global Genres
• Chapter 10 Review
• Summary
• Key Terms
• Part 4 Critical Perspectives: Reading and Writing About Film
• Chapter 11 Reading about Film: Critical Theories and Methods
• The Evolution of Film Theory
• Early and Classical Film Theory
• Early Film Theory
• Classical Film Theories: Formalism and Realism
• Postwar Film Culture and Criticism
• Film Journals
• Auteur Theory
• Genre Theory
• Contemporary Film Theory
• Structuralism and Semiotics
• Viewing Cue: The Wizard of Oz (1939)
• Poststructuralism
• Theories of Gender and Sexuality
• Cultural Studies
• Film in Focus: Clueless about Contemporary Film Theory? (1995)
• Film and Philosophy
• Postmodernism
• Film Theory and Digital Culture
• Chapter 11 Review
• Summary
• Key Terms
• Chapter 12 Writing a Film Essay: Observations, Arguments, Research, and Analysis
• Writing an Analytical Film Essay
• Personal Opinion and Objectivity
• Identifying Your Readers
• Viewing Cue: Birdman (2014)
• Elements of the Analytical Film Essay
• Preparing to Write about a Film
• Asking Questions
• Taking Notes
• Selecting a Topic
• Film in Focus: Analysis, Audience, and Minority Report (2002)
• Elements of a Film Essay
• Thesis Statement
• Outline and Topic Sentences
• Revising, Formatting, and Proofreading
• Writer’s Checklist
• Researching the Movies
• Distinguishing Research Materials
• Primary Research
• Secondary Research
• Film in Focus: Interpretation, Argument, and Evidence in Rashomon (1950)
• Using and Documenting Sources
• Technology in Action: Creating a Video Essay
• Film in Focus: From Research to Writing about The Cabinet of Dr. Caligari (1920)
• Chapter 12 Review
• Summary
• Key Terms
• Glossary
• Index
• The Next Level: Additional Sources
• Get the full film experience with videos in LaunchPad
• Inside Back Cover
• Back Cover