Film, Form, and Culture w/ DVD-ROM

From screen kisses to gender roles, Film, Form and Culture explores the interaction between the movies and the society of which they are a part. Students are introduced to the elements of film - the shot, the cut, the soundtrack - and they are encouraged to think seriously about the means by which these elements shape an audience's understanding of the narrative. On a larger scale, students are asked to consider how a film can influence its viewer even after the last reel has run out - and the way that societal changes radically alter the course of film history.

(McGraw-Hill)

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Robert Kolker teaches film studies and digital theory and practice at the University of Maryland, College Park. He is currently the president of the Society for Cinema Studies. He is the author of several books on film. A Cinema of Loneliness: Penn, Kubrick, Scorsese, Spielberg, Altman will soon appear in its third edition. His book on European film, The Altering Eye, is now on the World Wide Web at http://otal.umd.edu/~rkolker/AlteringEye. His first online work combining film analysis with moving images, "The Moving Image Reclaimed," can be found in Postmodern Culture (Volume 5, Number 1, September 1994, at http://muse.jhu.edu/journals/postmodern_culture/toc/pmcv005.html. He edited the special film issue of that journal, Volume 8, Number 2, January 1998 http://muse.jhu.edu/journals/postmodern_culture/toc/pmcv008.html#v008.1 Advances, Grants and Royalty payments are paid through Literary Agent - Robert Lieberman (address in "Other Address" tax id# 16-1467985

(McGraw-Hill)

Preface

Introduction

Chapter One: Image and Reality

IMAGES OF IMAGES

The Truth of the Image

The Urge to Represent Reality

Perspective and the Pleasures of Tricking the Eye

Photography and Reality

Manipulation of the Image

Reality as Image

FROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGE

Moving Images

NOTES AND REFERENCES

Chapter Two: Formal Structures: How Films Tell Their Stories

THE IMAGE, THE WORLD, AND THE FILM STUDIO

From Image to Narrative

THE ECONOMICS OF THE IMAGE

The System Develops: Buster Keaton and Charlie Chaplin

The Growth of Corporate Filmmaking

THE CLASSICAL HOLLYWOOD STYLE

Fabricating the Image

The Whole and Its Parts

Making the Parts Invisible

Story, Plot, and Narration

Convention And Consciousness

Notes and References

Chapter Three: Building Blocks I: The Shot

THE SHOT

COMPOSITION: THE SIZE OF THE FRAME

Cinerama

Anamorphic and Flat Wide Screen Processes

Loss of Standards

HOW COMPOSITION WORKS

Composition in Early Cinema

D.W. Griffith

The 90-degree Rule

The Studios and the Shot

MISE-EN-SCNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULES

MISE-EN-SCNE IN STERNBERG, MURNAU, AND HITCHCOCK

ORSON WELLES AND THE REINVENTION OF COMPOSITION

Deep Focus and The Long Take

WORKING AGAINST THE RULES

LIGHTING AND COLOR

COMPOSING IN WIDE SCREEN

THE MOVING CAMERA

NOTES AND REFERENCES

Chapter Four: Building Blocks II: The Cut

THE DEVELOPMENT OF CONTINUITY CUTTING

Griffith and Cutting

Shot/Reverse Shot

Point Of View

Sight Lines

The 180-degree Rule

CONVENTION, CULTURE, RESISTANCE

Gender

Coding

Responses To Conventional Cutting

Eisensteinian Montage

The Narrative of the Classical Style

Avant-Garde Film

Working Creatively Within and Against Conventions

NOTES AND REFERENCES

Chapter Five: The Story Tellers of Film I

COLLABORATION AS CREATIVITY
CREATIVE CRAFTSPEOPLE

Cinematographer

Production Designer

Computer Designer

Sound Designers

Editor

Composer

Screenwriter

Actors

Producer

Notes and References

Chapter Six: The Story Tellers of Film II: The Film Director

EUROPEAN ORIGINS

THE BIRTH OF THE AUTEUR

THE AUTEUR THEORY

Robert Altman

Martin Scorsese

Stanley Kubrick

Alfred Hitchcock

WOMEN AUTEURS

Womens Avant-garde Films

Maya Deren

Alice Guy-Blach and Lois Weber

Dorothy Arzner

Ida Lupino

Women Filmmakers Today

Julie Dash, Julie Taymor, and Chantal Akerman

...

(McGraw-Hill)