Film History: An Introduction: 2025 Release ISE

Kristin Thompson is an Honorary Fellow in the Department of Communication Arts at the University of Wisconsin—Madison, where she earned her Ph.D. Her books include Eisenstein’s Ivan the Terrible (1981), Exporting Entertainment: America’s Place in World Film Markets 1901–1934 (1985), Breaking the Glass Armor: Neoformalist Film Analysis (1988), Storytelling in the New Hollywood: Understanding Classical Narrative Technique (1999), Herr Lubitsch Goes to Hollywood: German and American Film after World War I (2005), and The Frodo Franchise: The Lord of the Rings and Modern Hollywood (2007). David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies in the Department of Communication Arts at the University of Wisconsin–Madison. He also holds a Hilldale Professorship in the Humanities and an Honorary Doctorate from the University of Copenhagen. He has also held the Kluge Chair in Modern Culture at the Library of Congress. His books include Narration in the Fiction Film (University of Wisconsin Press, 1985), On the History of Film Style (Harvard University Press, 1997), Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000; 2nd ed., Irvington Way Institute Press, 2011), Figures Traced in Light: On Cinematic Staging(University of California Press, 2005), The Way Hollywood Tells It: Story and Style in Modern Movies (University of California Press, 2006), The Rhapsodes: How 1940s Critics Changed American Film Culture (University of Chicago Press, 2016), and Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (University of Chicago Press, 2017). He has also written books on Carl Theodor Dreyer, Yasujiro Ozu, Sergei Eisenstein, digital cinema, and Hong Kong film. Jeff Smith is a Professor of Film Studies in the Department of Communication Arts at the University of Wisconsin—Madison, where he earned his Ph.D. He is the author of two books: The Sounds of Commerce: Marketing Popular FilmMusic (1998) and Film Criticism, the Cold War, and the Blacklist: Reading the Hollywood Reds (2014). He has also published several articles and book chapters on the role of sound and music in American cinema. He is currently at work on a book that traces development of the classical Hollywood film score during the 1930s that examines how studios allocated musical resources to films based on their position within the hierarchy of prestige pictures, programmers, and “B” films.

• Part One: Early Cinema1 The Invention and Early Years of the Cinema, 1880s-19042 The International Expansion of the Cinema, 1905-19123 National Cinemas, Hollywood Classicism, and World War I, 1913-1919Part Two: The Late Silent Era, 1919-19294 France in the 1920s5 Germany in the 1920s6 Soviet Cinema in the 1920s7 The Late Silent Era in Hollywood, 1920-19288 International Trends of the 1920sPart Three: The Development of Sound Cinema, 1926-19459 The Introduction of Sound10 The Hollywood Studio System, 1930-194511 Other Studio Systems12 Cinema and the State: The USSR, Germany, and Italy, 1930-194513 France: Poetic Realism, The Popular Front, and the Occupation, 1930-194514 Leftist, Documentary, and Experimental Cinemas, 1930-1945Part Four: The Postwar Era, 1945-1960s15 American Cinema in the Postwar Era, 1945-196016 Postwar European Cinema: Neorealism and its Context, 1945-195917 Postwar European Cinema: France, Scandinavia, and Britain, 1945-195918 Postwar Cinema Beyond the West, 1945-195919 Art Cinema and the Idea of Authorship20 New Waves and Young Cinemas, 1958-196721 Documentary and Experimental Cinema in the Post War Era, 1945-Mid 1960sPart 5: The Contemporary Cinema Since the 1960s22 Hollywood's Fall and Rise, 1960-198023 Politically Critical Cinema of the 1960s and 1970s24 Documentary and Experimental Cinema Since the Late 1960s25 New Cinemas and New Developments: Europe and the USSR Since the 1970s26 A Developing World: Continental and Subcontinental Cinemas Since 197027 Cinema Rising: Pacific Asia and Oceania Since 1970Part 6: Cinema in the Age of New Media28 American Cinema and the Entertainment Economy, the 1980s and After29 Toward a Global Film Culture30 Digital Technology and the Cinema