Film History: An Introduction

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 authorss blog at http://www.davidbordwell.net/blog/

(McGraw-Hill)

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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 (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), and Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. Heinman, 1992). In her spare time she studies Egyptology. The authors have collaborated on Film History (McGraw-Hill, 1994) with Janet Staiger, on The Classical Hollywood Cinema (Columbia University Press, 1985) and Storytelling in the New Hollywood (Harvard University Press, 1999)



David Bordwell is Jacques Ledoux Professor of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate from the University of Iowa. He is the author of The Films of Carl Theodor Dreyer (University California Press, 1981), Narration in the Fiction Film (University Wisconsin Press, 1985), Ozu and the Poetics of Cinema (British Film Institute/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) and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000). He has won a University Distinguished Teaching Award.

(McGraw-Hill)

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:...

(McGraw-Hill)