Get Access The Film Experience: An Introduction, Fourth Edition -> http://openmedia.top/server3.php?asin=1457663546. An IntroductionFifth Edition| ©2018 Timothy Corrigan; Patricia White. The experience of watching films can begin with journeying to imaginary worlds, witnessing. Timothy Corrigan and Patricia White. 2015, 4th edition. Boston: Bedford/St. Martin's. 544 pp., 978-1457663543 (p.b.), CAD$106.99. Review by Joakim Ake Nilsson.
The film experience an introduction 4th edition pdf download - And
The film experience an introduction 4th edition pdf download - recommend
Franklin
- Author/Creator:
- Corrigan, Timothy.
- Edition:
- 2nd ed.
- Publication:
- New York, NY : Bedford/St. Martins, c2009.
- Format/Description:
- Book
xxii, 583 p. : ill. (some col.) ; 28 cm. - Subjects:
- Motion pictures.
- Summary:
- From the Publisher: The Film Experience is a comprehensive introduction to film that treats students as the avid movie fans they are while surpassing all other texts in helping them understand the art form's full scope, breadth, and depth. Like other introductory texts, it offers strong coverage of film's formal elements, but goes further by situating this formal knowledge in the larger cultural contexts that inform the ways that we all view film. The authors' rich narrative integrates the cultural history of film throughout and demonstrates how the elements, practices, economics, and history of the medium contribute to a film's many possible meanings. The outstanding art program-now in full color-visually reinforces all the key concepts and techniques discussed in the text.
- Contents:
- Preface
Part 1: Contexts: Making, Watching, And Studying Movies
1: Introduction to the film experience
Why film studies?
Film experience: film spectators and film cultures
2: Preparing viewers and views: production, distribution, promotion, and exhibition
Many ways of viewing films
Private and public tastes
Identification
Cognition
Technologies of viewing films
Film gauge
Aspect ratio
New media and media convergence
Producing views: How films are made
Preproduction
Production
Postproduction
Distribution: What we can see
Film In Focus: Producing The 400 Blows (1959)
Distributing different views
Ancillary markets: television, video/DVD, and Internet distribution
Distribution timing
Film In Focus: Distributing Killer of Sheep (1977)
Marketing and promotion: What we want to see
Generating our interest
Advertising and ratings
Word of mouth
Film In Focus: Promoting The Crying Game (1992)
Movie exhibition: Where, when, and how of movie experiences
Changing contexts and practices of film exhibition
Timing of exhibition
Film In Focus: Exhibiting Citizen Kane (1941)
Transforming Film: Changing contexts of film exhibition
Part 2: Compositions: Film Scenes, Shots, Cuts, And Sounds
3: Exploring a material world: mise-en-scene
Short history of mise-en-scene
Transforming Film: Changing stages of mise-en-scene
Theatrical mise-en-scene and the prehistory of cinema
1900-1912: Early cinema's theatrical influences
1915-1928: Silent cinema and the star system
1930's-1960s: Studio-era production
1940-1970: New cinematic realism
1975-Present: Mise-en-scene and the blockbuster
Elements of mise-en-scene
Settings and sets
Scenic and atmospheric realism
Props, actors, costumes, and lights
Film In Focus: Sets and settings in Meet Me in St Louis (1944)
Film In Focus: From props to lighting in Do the Right Thing (1989)
Transforming Film: Power of costume and make-up
Significance of mise-en-scene
Defining our place in a film's material world
Interpreting film through context
Spectacularzing the movies
Film In Focus: Naturalistic mise-en-scene in Bicycle Thieves (1948)
4: Seeing through the image: cinematography
Short history of the cinematic image
1820s-1880s: Invention of photography and the prehistory of cinema
1890s-1920s: 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: Digital future
Elements of cinematography
Points of view
Four attributes of the shot
Film In Focus: Frames and movements in The Grand Illusion (1937)
Transforming Film: Changing color processes
Digital technology
Animation and special effects
Significance of the film image
Image as presentation or representation
Image as presence and text
Film In Focus: From angles to animation in Vertigo (1958)
Film In Focus: Meaning through images in M (1931)
5: Relating images: editing
Short history of film editing
1895-1920: Early cinema and classical editing style
1924-1929: Soviet montage
1929-1950: Studio era-from continuity editing to new realisms
1959-1989: Modern disjunctive editing
Transforming Film: Editing techniques
1990s-Present: Editing in the digital age
Elements of editing
Cut and other transitions
Film In Focus: Cutting to the chase in The General (1927)
Editing narrative space
Editing narrative time
Editing narrative shapes and surfaces, movements and rhythms
Film In Focus: Patterns of editing in Bonnie and Clyde (1967)
Significance of film editing
How editing makes meaning
Continuity and disjunctive editing styles
Transforming Film: Editing and the modernist aesthetic
Converging editing styles
Film In Focus: Montage from The Battleship Potemkin (1925) to The Untouchables (1987)
6: Listening to the cinema: film sound
Short history of film sound
Theatrical and technological prehistories of film sound
1895-1927: Sounds of silent cinema
1927-1930: Transition to synchronized sound
1930-1941: Challenges and innovations in cinema sound
1950-Present: From stereophonic to digital sound
Elements of film sound
Sound and image
Film In Focus: Sound and image in Singin' in the Rain (1952)
Sound protection
Voice, music, sound effects
Transforming Film: Changing role of music
Significance of film sound
Film In Focus: Subjectivity through sound in The Piano (1993)
Authenticity and experience
Sound continuity and sound montage
Film In Focus: Ethics and effects of sound technology in The Conversation (1974)
Part 3: Organizational Structures: From Stories To Genres
7: Telling stories about time: narrative films
Short history of narrative film
1900-1920: Adaptations, scriptwriters, and screenplays
1927-1950: Sound technology, dialogue, and classical Hollywood narrative
1950-1980: Art cinema
1980-Present: Narrative reflexivity and games
Elements of narrative film
Stories and plots
Characters
Film In Focus: Plot and narration in Apocalypse Now (1979)
Transforming Film: Evolution of character presentation
Film In Focus: Characters in Casablanca (1942)
Diegetic and nondiegetic elements
Narrative patterns of time
Narrative space
Narrative perspectives
Significance of film narrative
Shaping memory, making history
Film In Focus: Narrative space and time in The Searchers (1956)
Narrative traditions
Film In Focus: Classical and alternative traditions in Mildred Pierce (1945) and Daughters of the Dust (1991)
8: Representing the real: documentary films
Short history of documentary cinema
Prehistory of documentaries
1895-1905: Early actualities, scenics, and topicals
1920s: Robert Flaherty and the Soviet documentaries
1930-1945: Politics and propaganda of documentary
Transforming Film: Changing topics and forms of documentary cinema
1950s-1970s: New technologies and the arrival of television
1980-Present: Digital cinema, cable, and reality TV
Elements of documentary films
Nonfiction and non-narrative
Film In Focus: Nonfiction and non-narrative in Man of Aran (1934)
Expositions: Organizations that show or describe
Rhetorical positions
Film In Focus: Organizational strategies and rhetorical positions in Sunless (1982)
Significance of documentary films
Revealing new or ignored realities
Confronting assumptions, altering opinions
Serving as a social, political, historical, and cultural lens
Personal documentaries, reenactments, and mockumentaries
Film In Focus: Manufacturing significance in The Man with the Movie Camera (1929)
9: Experimental screens: avant-garde film, video art, and new media
Short history of experimental film and media practices
1910s-1920s: European avant-garde movements
Transforming Film: From railway to experimental film
1930s-1940s: Sound and vision
1950s-1960s: Postwar avant-garde in America
1968 and After: Politics and experimental cinema
1980s-Present: New technologies and new media
Elements of experimental media
Formalisms: narrative experimentation and abstraction
Experimental organizations: associative, structural, participatory
Film In Focus: Formal play in Ballet mecanique (1924)
Styles and perspectives: surrealist, lyrical, critical
Significance of experimental media
Challenging and expanding perception
Experimental film traditions
Film In Focus: Avant-garde visions in Meshes of the Afternoon (1943)
10: Rituals, conventions, archetypes, and formulas: movie genres
Short history of film genre
Historical origins of genres
Transforming Film: Genre across media
Early film genres
1920s-1940s: Genre and the studio system
1948-1970s: Postwar film genres
1970s-Present: New Hollywood, sequels, and global genres
Elements of film genre
Conventions, formulas, and expectations
Film In Focus: Conventions and expectations in The Gold Rush (1925)
Six paradigms
Film In Focus: Generic Chinatown (1974)
Significance of film genre
Prescriptive and descriptive approaches
Classical and revisionist genres
Local and global genres
Film In Focus: Significance of genre history in Vagabond (1985)
Part 4: Histories: Hollywood And The World
11: Conventional film history: evolutions, masterpieces, and periodization
Film history as evolution
Points of origin
Progress and conquest: more reality, money, and sophistication
Transforming Film: Corporate history
Film In Focus: Constructing origins in The Birth of a Nation (1915)
Film history as masters and masterpieces
Pioneers, silent masters, and European influences: 1900-1920
Studio classics and classicists: 1930s
Transitional and turbulent visions: 1940s-1950s
Rebels and visionaries, dealers and deals: 1960s-2000s
Film In Focus: Mastery of Alfred Hitchcock
Film history as periodization
Early cinema
Classical cinema
Postwar cinema
Contemporary cinema
Film In Focus: Periodization and Taxi Driver (1976)
Film preservation and archives
12: Global and local: inclusive histories of the movies
Film history beyond Hollywood
Film history before World War II
Film history after World War II
Film In Focus: Global cinema in The Apple (1998)
Lost and found of American film history
Transforming Film: Women who made movies
Women who made the movies
African American cinema
Rewriting film history
Film In Focus: Lost and found history: Within Our Gates (1920)
Film, history, and cultural context
Film In Focus: Historical context and Salt of the Earth (1954)
Part 5: Reactions: Reading And Writing About Film
13: Reading about film: critical theories and methods
Concepts and methods in film theory
Concepts of specificity: the cinematic medium and film form
Comparative methods: authorship and genre theories
Film theory and historical context
Early film theory
Film In Focus: Genre and authorship in Touch of Evil (1958)
Soviet film theory: Montage
Classical film theories: Formalism and realism
Role of film journals
Film In Focus: Coding time in Timecode (2000)
Critical questions in contemporary film theory
Semiotics, structuralism, and Marxism
Poststructuralism: psychoanalysis, apparatus theory, and spectatorship
Theories of gender and sexuality
New directions in film studies
Cultural studies
Film and philosophy
Postmodernism and new media
Film In Focus: Clueless (1995) about contemporary film theory?
14: Writing a film essay: observations, arguments, research, and analysis
Writing an analytical film essay
Personal and opinion and objectivity
Identifying your readers
Elements of the analytical film essay
Preparing to write about a film
Asking questions
Taking notes
Film In Focus: Analysis, audience, and Citizen Kane (1941)
Selecting a topic
Elements of a film essay
Interpretation, argument, and evidence
Thesis statement
Film In Focus: Analyzing character as image in Sally Potter's Orlando (1993)
Outline and topic sentences
Revision, manuscript format, and proofreading
Using film images in your paper
Writer's checklist
Researching the movies
Distinguishing research materials
Film In Focus: Interpretation, argument, and evidence in Rashomon (1950)
Using and documenting sources
Film In Focus: From research to writing about The Cabinet of Dr Caligari (1919)
Glossary
Acknowledgments
Index. - Notes:
- Includes bibliographical references and index.
- Local notes:
- Acquired for the Penn Libraries with assistance from the Lachs-Adler Family Endowed Fund for Collection Development.
- Contributor:
- White, Patricia, 1964-
Lachs-Adler Family Endowed Fund for Collection Development. - ISBN:
- 0312445857
9780312445850 (pbk.)
023022329X
9780230223295 - OCLC:
- 298129475
- Publisher Number:
- 99944902683
- Web link:
- The Lachs-Adler Family Endowed Fund for Collection Development Home Page
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