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The Resource Introduction to Film Studies

Introduction to Film Studies

Label
Introduction to Film Studies
Title
Introduction to Film Studies
Creator
Subject
Language
eng
Summary
  • Introduction to Film Studies is a comprehensive textbook for students of cinema. This completely revised and updated fifth edition guides students through the key issues and concepts in film studies, traces the historical development of film and introduces some of the worlds key national cinemas. A range of theories and theorists are presented from Formalism to Feminism, from Eisenstein to Deleuze. Each chapter is written by a subject specialist, including two new authors for the fifth edition. A wide range of films are analysed and discussed. It is lavishly illustrated with 150 film stills and production shots, in full colour throughout. Reviewed widely by teachers in the field and with a foreword by Bill Nichols, it will be essential reading for any introductory student of film and media studies or the visual arts worldwide.Key features of the fifth edition are: updated coverage of a wide range of concepts, theories and issues in film studies in-depth discussion of the contemporary film industry and technological changesnew chapters on Film and Technology and Latin American Cinema new case studies on films such as District 9, Grizzly Man, Amores Perros, Avatar, Made in Dagenham and many others marginal key terms, notes, cross-referencing suggestions for further reading, further viewing and a comprehensive glossary and bibliography a new, improved companion website including popular case studies and chapters from previous editions (including chapters on German Cinema and The French New Wave), links to supporting sites, clips, questions and useful resources.Individual chapters include: The Industrial Contexts of Film Production · Film and Technology · Getting to the Bigger · Picture Film Form and Narrative · Spectator, Audience and Response · Cinematic authorship and the film auteur · Stardom and Hollywood Cinema · Genre, Theory and Hollywood
  • Cinema The Documentary Form · The Language of Animation · Gender and Film · Lesbian and Gay Cinema · Spectacle, Stereotypes and Films of the African Diaspora · British Cinema · Indian Cinema · Latin American Cinema · Soviet Montage Cinema of the 1920s Contributors: Linda Craig, Lalitha Gopalan, Terri Francis, Chris Jones, Mark Joyce, Searle Kochberg, Lawrence Napper, Jill Nelmes, Patrick Phillips, Suzanne Speidel, Paul Ward, Paul Watson, Paul Wells and William Wittington
Cataloging source
MiAaPQ
Literary form
non fiction
Nature of contents
dictionaries
Introduction to Film Studies
Label
Introduction to Film Studies
Link
http://libproxy.rpi.edu/login?url=https://ebookcentral.proquest.com/lib/rpi/detail.action?docID=958440
Publication
Copyright
Related Contributor
Related Location
Related Agents
Related Authorities
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Carrier category
online resource
Carrier category code
cr
Carrier MARC source
rdacarrier
Color
multicolored
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • Front Cover -- Introduction to Film Studies -- Copyright Page -- Contents -- List of illustrations -- Notes on contributors -- Foreword: Bill Nicholls -- Acknowledgements -- Introduction to the fifth edition: Jill Nelmes -- Part One: Cinema as Institution: Technology, Industry and Audience -- 1. The industrial contexts of film production: Searle Kochberg -- Introduction -- The origins of the American film industry (1900 to 1915) -- The studio era of American film (1930 to 1949) -- Case study 1: Warner Brothers -- The contemporary film industry (1949 onwards ) -- Case study 2: Marketing a blockbuster in the pre-internet ERA: Jurassic Park (1993) -- Case study 3: Marketing in the internet ERA: Paramount's online marketing campaign for Paranormal Activity (2007) prior to general release -- Case study 4: The ascendancy of 3D animated digital production: Avatar (2009) -- Case study 5: A US 'blockbuster' production: Gladiator (2000) -- Case study 6: A medium-budget UK production: Slumdog Milionaire (2008) -- Film Audiences -- Case study 7: Building an audience on the web the Blair Witch Project (1999) -- Summary -- Conclusion -- Question for discusion -- Notes -- Further reading -- Further viewing -- 2. Contemporary film technology: William Whittington -- Introduction -- Technology in motion: from invention to agency -- Theories of technology -- Computer graphic imaging systems -- Case study 1: District 9 (2009) -- Case study 2: Star Trek (2009) -- 3D exhibition technology -- Case study 3: Avatar (2009) -- Conclusion -- Summary -- Questions for discusion -- Notes -- Further reading -- Further viewing -- Resource centres -- Part Two: Approaches to Studying Film: Form and text -- 3. Before getting to the bigger picture: Patrick Phillips -- Introduction: changing aproaches to film -- A short film on YouTube
  • The still and the moving image -- Trying to name a certain quality in film -- Time and memory -- Conclusion: Film fragments -- Summary -- Notes -- Further reading -- Further viewing -- 4. Film form and narrative: Susan Speidel -- Introducing form and narrative -- Conventions, Hollywood, art and avant-garde cinema -- Cinematic codes -- Case study 1: Classical conventions in Gladiator (Ridley Scott, 2000) -- Case study 2: Artistry, comedy and ambiguity in Loves of a Blonde/Lásky jedné plavovlásky (Milos Forman, 1965) -- Case study 3: Postmodernism and playing games in Run Lola Run/Lola Rennt (Tom Tykwer, 1998) -- Conclusion -- Summary -- Questions for discusion -- Further reading -- Further viewing -- Resource centres -- 5. Spectator, audience and response: Patrick Phillips -- Introduction -- The cinema spectator -- The film audience -- Response studies -- What we can learn from Early Cinema -- Case study 1: The response to the Birth of a Nation (D.W. Griffith, 1915) -- The spectator of theory -- Response -- Case study 2: Pulp Fiction (Quentin Tarantino, 1994) -- Summary -- Questions for discusion -- Further reading -- Further viewing -- Resource centres -- 6. Cinematic authorship and the film auteur: Paul Watson -- Introduction -- The three paradoxes of cinematic authorship -- What's the use of authorship? -- The problems of auteur theory -- A biographical legend: the commerce of authorship -- Towards a pragmatic conception of cinematic authorship -- Case study 1: Style as substance: Quentin Tarantino and the director-as-auteur -- Modes of auteurism -- Conclusion -- Sumary -- Questions for discusion -- Further reading -- 7. Star studies: text, pleasure, identity -- Introduction: scren icons to cultural bygones? -- Three aproaches to conceptualising stardom -- When is a star not a star ?
  • Modes of stardom in contemporary cinema -- Case study 1: Masculinity on a knife-edge: analysing Tom Cruise -- Conclusion: stardom and cultural identity -- Summary -- Questions for discusion -- Further reading -- Further viewing -- Resource centres -- Part Three: Studying Genre -- 8. Approaches to film genre - taxonomy/genericity/ metaphor: Paul Watson -- Introduction -- Genre theory and holywood cinema -- Defining genre(s) -- Genre as economic strategy -- Genre as cognition -- Case study 1: From Text to intertext: genericity and Moulin Rouge -- Rethinking Genre: Multiplicity and metaphor -- Conclusion -- Summary -- Questions for discusion -- Further reading -- Further viewing -- 9. The documentary form: Paul Ward -- Introduction -- What is documentary ? -- 'Proto-Documentary' - the case of early film actualities -- Case study 1: the films of Mitchel and Kenyon -- The shift to narative structure in documentary -- John Grierson and the British documentary movement -- Post-war developments in observational documentary -- Case study 2: Grey Gardens (Maysles Brothers, 1975) -- The move to performative and reflexive documentary -- Case study 3: Grizzly Man (Werner Herzog, 2005) -- Documentary, drama and performance -- Case study 4: Twockers (Pawel Pawlikowski and Ian Duncan, 1998) -- Conclusion -- Summary -- Questions for discusion -- Notes -- Further reading -- Further viewing -- Resource centres -- 10. The language of animation: Paul Wells -- Introduction -- What is animation ? -- Early animation -- The Legacy of Disney -- Case Study 1: Deconstructing the cartoon: Duck Amuck (Chuck Jones, 1953) -- Case Study 2: Animation as a Self-Reflexive Language: Fast Film (Virgil Widrich, 2003) -- Perpetual 'modernity'
  • Case study 3: Recalling and revising animation tradition: Breakfast on the Grass -- The impact of animé -- Case study 4: Hayao Miyazaki -- Case study 5: Norman McLaren -- Conclusion: Computers and convergence -- Summary -- Questions for discusion -- Further reading -- Further viewing -- Resource centres -- Part IV: Cinema, Identity and the Politics of Representation -- 11. Gender and film: Jill Nelmes -- Introduction -- Women and film -- No job for a woman - a history of women in film -- The feminist revolution -- Feminist film theory and practice -- Representation of gender and sexuality -- Reassessing feminist film theory -- Case study 1: Sally Potter, filmmaker -- Case study 2: Nicole Holofcener, writer/director -- Gender theory and theories of masculinity -- Case study 3: Fight Club (David Fincher, 1999) -- Conclusion -- Summary -- Questions for discusion -- Notes -- Further reading -- Further viewing -- Resource centres -- 12. Lesbian and gay cinema: Chris Jones -- Introduction: Representation -- Definitions and developments: changing language -- Audiences -- Film Festivals: developing awareness -- Consciousnes-raising through documentary -- Gay sensibility -- Sexual ideology -- Camp aesthetics and cinema -- Critical re-readings -- Early explorations: subcultural messages and spectator pleasures -- Some quer films: stereotypes and characters -- Case study 1: Looking for Langston (Isaac Julien, UK, 1994) -- Case study 2: Boys Don't Cry (Kimberley Peirce, US, 1999) -- A quer diversity -- Conclusion: The way forward -- Summary -- Questions for discusion -- Further reading -- Further viewing -- Resource centres -- 13. Spectacle, stereotypes and films of the African diaspora: Terri Francis -- Introduction -- Stereotypes -- Genre -- African American film history -- Ethnicity, race, and cinema -- Whiteness -- Racism -- spectacle
  • Case study 1: From Zora Neale Hurston Fieldwork Footage (National Film Preservation Foundation , 1928 and 2004) -- Case study 2: The Harder They Come (Pery Henzell, 1972) -- Case study 3: Spike Lee's Do the Right Thing (1989) and Bamboozled (2000) -- Am I just a spectacle ?: dancing versus shufling -- Conclusion -- Summary -- Questions for discusion -- Notes -- Further reading -- Further viewing -- Resource centres -- Part V: Cinema, Nation and National Identity -- 14. British cinema: Lawrence Napper -- Defining British cinema -- From pioneering to protection -- Depression and war -- Golden age to New Wave -- Decline and revival -- Case study 1: Brick Lane (Sarah Gavron, 2007) -- Case study 2: Made in Dagenham (Nigel Cole, 2010) -- Case study 3: Love Actually (Richard Curtis, 2003) -- Case study 4: Bullet Boy (Saul Dibb, 2004) -- Conclusion -- Summary -- Note -- Further reading -- Further viewing -- Resource centres -- 15. Indian cinema: Lalitha Gopalan -- Introduction -- Production and reception conditions -- Case study 1: Monsoon Wedding (Mira Nair, 2002) -- Writings on Indian cinema -- Genre and form -- Song and dance sequences -- Case study 2: Guru Dutt -- Love story -- Interval -- Censorship -- The woman's film -- Foundational fictions of the post-colonial nation -- Case study 3: Hey! Ram (Kamal Haasan, 1999) -- Conclusion -- Summary -- Questions for discusion -- Notes -- Further reading -- Further viewing -- Resource centres -- 16. Latin American cinema: Linda Craig -- Introduction: beginings -- Melodrama -- The New Latin American cinema -- Case study 1: Lucía (Solás, Cuba, 1968) -- More recent developments -- Case study 2: Madame Satã (Aïnouz, Brazil, 2002) -- Case study 3: Amores perros (González Iñárritu, Mexico, 2000) -- Conclusion -- Summary -- Questions for discusion -- Further reading -- Further viewing
  • Resource centres
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Dimensions
unknown
http://library.link/vocab/discovery_link
{'f': 'http://opac.lib.rpi.edu/record=b4403779'}
Edition
5th ed.
Extent
1 online resource (558 pages)
Form of item
online
Isbn
9780203824139
Media category
computer
Media MARC source
rdamedia
Media type code
c
Sound
unknown sound
Specific material designation
remote

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