PN1995.C655

- Part One: Cultural Contexts: Watching, Studying, and Making Movies - Introduction: Studying Film: Culture and Experience - Why Film Studies Matters - Film Spectators and Film Cultures - Form in Action Identification, Cognition, and Film Variety - Film in Focus The 400 Blows: An Auteur’s Film Experience (1959) - The Film Experience - Chapter One: Encountering Film: From Preproduction to Exhibition - Production: How Films Are Made - Preproduction - Production - Postproduction - Distribution: What We Can See - Distributors - Ancillary Markets - Distribution Timing - Film in Focus Distributing Killer of Sheep (1977) - Marketing and Promotion: What We Want to See - Generating Interest - Advertising - Viewing Cue: Man of Steel (2013) - Form in Action The Changing Art and Business of the Film Trailer - Word of Mouth and Fan Engagement - Movie Exhibition: The Where, When, and How of Movie Experiences - The Changing Contexts and Practices of Film Exhibition - Film in Focus Promoting The Blair Witch Project (1999) - Technologies and Cultures of Exhibition - Film in Focus Exhibiting Citizen Kane (1941) - The Timing of Exhibition - Part Two: Formal Compositions: Film Scenes, Shots, Cuts, and Sounds - Chapter Two: 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, Actors, Costumes, and Lights - Film in Focus Making Sense of Mise-en-Scène in Do the Right Thing - Space and Design - Form in Action Mise-en-Scène in Fantastic Mr. Fox (2009) - Making Sense of Mise-en-Scène - Defining Our Place in a Film’s Material World - Interpretive Contexts for Mise-en-Scène - Film in Focus Naturalistic Mise-en-Scène in Bicycle Thieves (1948) - Spectacularizing the Movies - Chapter Three: 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 and Beyond: The Digital Future - The Elements of Cinematography - Points of View - Four Attributes of the Shot - Viewing Cue: Touch of Evil (1958) - Form in Action Color and Contrast in Film - Animation and Visual Effects - Viewing Cue: Rear Window (1954) - Viewing Cue: The Battle of Algiers (1967) - Making Sense of the Film Image - Defining Our Relationship to the Cinematic Image - Interpretive Contexts for the Cinematic Image - Film in Focus From Angles to Animation in Vertigo (1958) - Film in Focus Meaning through Images in M (1931) Chapter Four: Editing: Relating Images - A Short History of Film Editing - 1895–1918: Early Cinema and the Emergence of Editing - 1919–1929: Soviet Montage - 1930–1959: The Hollywood Studio Era, Sound, and Continuity Editing - 1960–1989: Modern Disjunctive Editing - 1990s–Present: Editing in the Digital Age - The Elements of Editing - The Cut and Other Transitions - Viewing Cue: Chinatown (1974) - Continuity Style - Editing and Temporality - Viewing Cue: The General (1927) - Form in Action Editing and Rhythm in Moulin Rouge! (2001) - Film in Focus Patterns of Editing in Bonnie and Clyde (1967) - Making Sense of Film Editing - Disjunctive Editing - Film in Focus Montage in Battleship Potemkin (1925) - Converging Editing Styles - Chapter Five: Film Sound: Listening to the Cinema - A Short History of Film Sound - Theatrical and Technological Prehistories of Film Sound - 1895–1920s: The Sounds of Silent Cinema - 1927–1930: Transition to Synchronized Sound - 1950s–Present: From Stereophonic to Digital Sound - The Elements of Film Sound - Sound and Image - Sound Production - Film in Focus Sound and Image in Singin’ in the Rain (1952) - Voice in Film - Music in Film - Form in Action Pop Music Soundtracks in Contemporary Cinema   - Sound Effects in Film - Viewing Cue: Winter's Bone (2010) - Viewing Cue: The Thin Red Line (1998) - Making Sense of Film Sound - Sound Continuity and Sound Montage - Film in Focus The Role of Sound and Sound Technology in The Conversation (1974) - Part Three: Organizational Structures: From Stories to Genres - Chapter Six: Narrative Films: Telling Stories - A Short History of Narrative Film - 1900–1920s: Adaptations, Scriptwriters, and Screenplays - 1927–1950: Sound Technology, Dialogue, and Classical Hollywood Narrative - 1950–1980: Art Cinema -1980s–Present: From Narrative Reflexivity to Games - The Elements of Narrative Film - Stories and Plots - Characters - Diegetic and Nondiegetic Elements - Narrative Patterns of Time - Form in Action Nondiegetic Images and Narrative - Narrative Space - Narrative Perspectives    - Viewing Cue: The Royal Tenenbaums (2001) - Film in Focus Plot and Narration in Apocalypse Now (1979) - Making Sense of Film Narrative - Shaping Memory, Making History - Narrative Traditions - Film in Focus Classical and Alternative Traditions in Mildred Pierce and Daughters of the Dust - Chapter Seven: 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 - Film in Focus Nonfiction and Non-Narrative in Man of Aran (1934) - Viewing Cue: The Cove (2009) - Rhetorical Positions - Making Sense of Documentary Films - Revealing New or Ignored Realities - Film in Focus Stories We Tell (2013) - Confronting Assumptions, Altering Opinions - Serving as a Social, Cultural, and Personal Lens - Form in Action The Contemporary Documentary: Exit Through the Gift Shop (2010) - Chapter Eight: Experimental Film and New Media: Challenging Form - A Short History of Experimental Film and Media Practices - 1910s–1920s: European Avant-Garde Movements - 1930s–1940s: Sound and Vision - 1950s–1960s: The Postwar Avant-Garde in America - Film in Focus Avant-Garde Visions in Meshes of the Afternoon (1943) - 1968 to 1980: Politics and Experimental Cinema - 1980s–Present: New Technologies and New Media - The Elements of Experimental Media - Formalisms: Narrative Experimentation and Abstraction - Experimental Organizations: Associative, Structural, and Participatory - Film in Focus Formal Play in Ballet mécanique (1924) - Making Senses of Experimental Media - Challenging and Expanding Perception - Experimental Film Styles and Approaches - Form in Action Lyrical Style in Bridges-Go-Round (1958) - Chapter Nine: Movie Genres: Conventions, Formulas, and Audience Expectations - A Short History of Film Genre - Historical Origins of Genres - 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 - Formulas and Myths - Audience Expectations - Viewing Cue: Bridesmaids (2011) - Six Movie Genres - Comedies - Westerns - Melodramas - Musicals - Horror Films - Crime Films - Making Sense of Film Genres - Prescriptive and Descriptive Approaches - Film in Focus Crime Film Conventions and Formulas: Chinatown (1974) - Classical and Revisionist Traditions - Form in Action Genre Revisionism: Comparing True Grit (1969) and True Grit (2010) - Local and Global Genres - Film in Focus Genre History in Vagabond - Part Four: Critical Perspectives: History, Methods, Writing - Chapter 10: History and Historiography: Hollywood and Beyond - Early Cinema - Cinema between the Wars - Classical Hollywood Cinema - German Expressionist Cinema - Soviet Silent Films - French Impressionist Cinema and Poetic Realism - Postwar Cinemas - Postwar Hollywood - Italian Neorealism - Viewing Cue: Gilda (1946) and Rome, Open City (1945) - French New Wave - Japanese Cinema - Third Cinema - Contemporary Film Cultures - Contemporary Hollywood - Contemporary Independent Cinema - Film in Focus Taxi Driver and New Hollywood (1976) - Contemporary European Cinema - Indian Cinema - African Cinema - Chinese Cinema - Iranian Cinema - The Lost and Found of Film History - Women Filmmakers - African American Cinema - Film in Focus Lost and Found History: Within Our Gates (1920) - Lesbian/Gay/Bisexual/Transgender (LGBT) Film History - Indigenous Media - Excavating Film History -Chapter Eleven: 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) - Film in Focus Signs and Meaning in Persepolis (2007) - Poststructuralism - Theories of Gender and Sexuality - Cultural Studies - Film and Philosophy - Postmodernism and New Media - Film in Focus Clueless about Contemporary Film Theory? (1995) - Chapter Twelve: Writing a Film Essay: Observations, Arguments, Research, and Analysis - Writing an Analytical Film Essay - Personal Opinion and Objectivity - Identifying Your Readers - Viewing Cue: Moonrise Kingdom (2012) - Elements of the Analytical Film Essay - Preparing to Write about a Film - Asking Questions - Taking Notes - Film in Focus Analysis, Audience, and Minority Report (2002) - Selecting a Topic - Elements of a Film Essay - Thesis Statement - Outline and Topic Sentences - Revision, Manuscript Format, and Proofreading - Writer's Checklist - Researching the Movies - Distinguishing Research Materials - Using and Documenting Sources - Film in Focus Interpretation, Argument, and Evidence in Rashomon (1950) - Using Film Images in Your Paper - Film in Focus From Research to Writing about The Cabinet of Dr. Caligari (1920

In our culture, watching movies is a universal experience – but understanding film may not be. The Film Experience reaches out to students, connecting their experiences watching movies with better understanding and knowledge of the medium's full scope. And with its game-changing new video program in LaunchPad Solo (see below), this thoroughly updated new edition makes it easier than ever to link each student’s personal viewing to a greater overall understanding of film. Timothy Corrigan and Patricia White’s classroom favorite is both authoritative and joyful about watching, analyzing, and understanding film. With clips from classic and contemporary films (Rear Window, Life of Pi, Moonrise Kingdom, Chinatown, and many others) plus hundreds of movie images and other graphics, the thoroughly revised new edition covers everything from editing to cinematography to narrative genres, all in a cultural context that reinforces why films and film study matter. The book's features—Form in Action, Film in Focus, and Concepts at Work —combine text, stills, and links to videos online to explore specific films, scenes, and trends in depth.