film is an art form with a language and an aesthetic all its own. since 1979, David Bordwell and kristin thompson's film art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students appreciation for how creative choices by filmmakers affect what viewers experience and how they respond.
Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the tenth edition also offers Connect for film art, a digital solution that includes multimedia tutorials along with web-based assignment and assessment tools.
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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.
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)
Part One Film Art and Filmmaking
1 Film as Art: Creativity, Technology, and Business
Part Two Film Form
2 The Significance of Film Form
3 Narrative as a Formal System
Part Three Film Style
4 The Shot: Mise-en-Scene
5 The Shot: Cinematography
6 The Relation of Shot to Shot: Editing
7 Sound in the Cinema
8 Summary: Style as a Formal System
Part Four Types of Films
9 Film Genres
10 Documentary, Experimental, and Animated Films
Part Five Critical Analysis of Films
11 Film Criticism: Sample Analyses
Appendix: Writing a Critical Analysis of a Film
Part Six Film Art and Film History
12 Historical Changes in Film Art: Conventions and Choices, Traditions and Trends
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