Film History ISE

Höfundar: Kristin Thompson; David Bordwell; Jeff Smith (Útgáfa: 6)
Film History ISE

Kaup valmöguleikar

This new release of Film History is a comprehensive global survey of film and its many genres - from drama and comedy to documentary and experimental - written by three of the discipline's leading scholars. Concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic and relevant points of reference than publicity stills. In addition, 100 film clips with commentary are conveniently embedded in the ebook (available standalone and through Connect® and McGraw Hill GO).

Nánar um bókina

Útgefandi
McGraw-Hill Higher Education (International)
ISBN
9781264571970
Print ISBN
9781265239770
Format
ePub
Útgáfa
6
Höfundar
Kristin Thompson; David Bordwell; Jeff Smith
Tungumál
English
Útgefið
2025-07-01
Prent takmörkun á líftíma
100
Prent takmörkun
2
Afritunar takmörkun
2

Kaflar

  • Table of Contents and Preface
  • Cover Page
  • Title Page
  • An Introduction
  • Copyright Page
  • Dedication
  • To Gabrielle
  • Contents
  • About the Authors
  • Preface to the 2025 Release
  • Connect
  • Chapter 1: The Invention and Early Years of the Cinema, 1880s–1904
  • Part One: Early Cinema
  • Chapter 1 Introduction
  • The Invention of the Cinema
  • Preconditions for Motion Pictures
  • Major Precursors of Motion Pictures
  • An International Process of Invention
  • Early Filmmaking and Exhibition
  • Scenics, Topicals, and Fiction Films
  • Creating an Appealing Program
  • The Growth of the French Film Industry
  • England and the Brighton School
  • The United States: Competition and the Resurgence of Edison
  • Reference
  • Chapter 2: The International Expansion of the Cinema, 1905–1912
  • Chapter 2 Introduction
  • Film Production in Europe
  • France: Pathé versus Gaumont
  • Italy: Growth through Spectacle
  • Denmark: Nordisk and Ole Olsen
  • Other Countries
  • The Struggle for the Expanding American Film Industry
  • The Nickelodeon Boom
  • The Motion Picture Patents Company versus the Independents
  • Social Pressures and Self-Censorship
  • The Rise of the Feature Film
  • The Star System
  • The Movies Move to Hollywood
  • The Problem of Narrative Clarity
  • Early Moves toward Classical Storytelling
  • An International Style
  • References
  • Chapter 3: National Cinemas, Hollywood Classicism, and World War I, 1913–1919
  • Chapter 3 Introduction
  • The American Takeover of World Markets
  • The Rise of National Cinemas
  • Germany
  • Italy
  • Russia
  • France
  • Denmark
  • Sweden
  • The Classical Hollywood Cinema
  • The Major Studios Begin to Form
  • Controlling Filmmaking
  • Filmmaking in Hollywood during the 1910s
  • Films and Filmmakers
  • Streamlining American Animation
  • Trends in Smaller Producing Countries
  • References
  • Chapter 4: France in The 1920s
  • Part Two: The Late Silent ERA, 1919–1929
  • Chapter 4 Introduction
  • Competition from Imports
  • Disunity within the Film Industry
  • Outdated Production Facilities
  • Major Postwar Genres and Filmmakers
  • The French Impressionist Movement
  • The Impressionists’ Relation to the Industry
  • Impressionist Theory
  • Stylistic Traits of Impressionism
  • The End of French Impressionism
  • Problems within the Film Industry
  • References
  • Chapter 5: Germany in The 1920s
  • Chapter 5 Introduction
  • The German Situation after World War I
  • Genres and Styles of German Postwar Cinema
  • Spectacles
  • The German Expressionist Movement
  • Kammerspiel
  • German Films Abroad
  • Major Changes in the Mid-to-Late 1920s
  • The Technological Updating of the German Studios
  • The End of Inflation
  • The End of the Expressionist Movement
  • New Objectivity
  • Export and Classical Style
  • References
  • Chapter 6: Soviet Cinema in The 1920s
  • Chapter 6 Introduction
  • The Hardships of War Communism, 1918–1920
  • The Kuleshov Group
  • Recovery under the New Economic Policy, 1921–1924
  • Centralized Distribution
  • Regularized Production
  • Increased State Control and the Montage Movement, 1925–1930
  • Growth and Export in the Film Industry
  • The Influence of Constructivism
  • A New Generation: The Montage Filmmakers
  • The Theoretical Writings of Montage Filmmakers
  • Soviet Montage Form and Style
  • Other Soviet Films
  • The First Five-Year Plan and The End of the Montage Movement
  • References
  • Chapter 7: The Late Silent Era in Hollywood, 1920–1928
  • Chapter 7 Introduction
  • Theater Chains and the Expansion of the Industry
  • Vertical Integration
  • Picture Palaces
  • The Big Three and the Little Five
  • The Motion Picture Producers and Distributors of America
  • Studio Filmmaking
  • Style and Technological Changes
  • Big-Budget Films of the 1920s
  • New Investment and Blockbusters
  • Genres and Directors
  • Foreign Filmmakers in Hollywood
  • Films for African American Audiences
  • The Animated Part of the Program
  • Reference
  • Chapter 8: International Trends of The 1920s
  • Chapter 8 Introduction
  • “Film Europe”
  • Postwar Animosities Fade
  • Concrete Steps toward Cooperation
  • Success Cut Short
  • The “International Style”
  • The Blending of Stylistic Traits
  • Carl Dreyer: European Director
  • Film Experiments outside the Mainstream Industry
  • Abstract Animation
  • Dada Filmmaking
  • Surrealism
  • Cinéma Pur
  • Lyrical Documentaries: The City Symphony
  • Experimental Narrative
  • Documentary Features Gain Prominence
  • Commercial Filmmaking Internationally
  • Japan
  • Great Britain
  • Italy
  • Some Smaller Producing Countries
  • References
  • Chapter 9: The Introduction of Sound
  • Part Three: The Development of Sound Cinema, 1926–1945
  • Chapter 9 Introduction
  • Sound in the United States
  • Warner Bros. and Vitaphone
  • Sound-on-Film Is Adopted
  • Sound and Filmmaking
  • Germany Challenges Hollywood
  • Dividing the International Pie
  • The Early Sound Era in Germany
  • The USSR Pursues Its Own Path to Sound
  • The International Adoption of Sound
  • France
  • Great Britain
  • Japan
  • Wiring the World’s Theaters for Sound
  • Crossing the Language Barrier
  • References
  • Chapter 10: The Hollywood Studio System, 1930–1945
  • Chapter 10 Introduction
  • The New Structure of the Film Industry
  • The Big Five
  • The Little Three
  • The Independents
  • Exhibition Practice in the 1930s
  • Continued Innovation in Hollywood
  • Sound Recording
  • Camera Movement
  • Technicolor
  • Special Effects
  • Cinematography Styles
  • Major Directors
  • The Silent Veterans
  • New Directors
  • New Émigré Directors
  • Genre Innovations and Transformations
  • The Musical
  • The Screwball Comedy
  • The Horror Film
  • The Social Problem Film
  • The Gangster Film
  • Film Noir
  • The War Film
  • Animation and the Studio System
  • References
  • Chapter 11: Other Studio Systems
  • Chapter 11 Introduction
  • Quota Quickies and Wartime Pressures: The British Studios
  • The British Film Industry Grows
  • Export Successes
  • Alfred Hitchcock’s Thrillers
  • Crisis and Recovery
  • The Effects of the War
  • Innovation within an Industry: The Studio System of Japan
  • Popular Cinema of the 1930s
  • The Pacific War
  • India: An Industry Built on Music
  • A Highly Fragmented Business
  • Mythologicals, Socials, and Devotionals
  • Independents Weaken the System
  • China: Filmmaking Caught between Left and Right
  • References
  • Chapter 12: Cinema and The State: The USSR, Germany, and Italy, 1930–1945
  • Chapter 12 Introduction
  • The Soviet Union: Socialist Realism and World War II
  • Films of the Early 1930s
  • The Doctrine of Socialist Realism
  • The Main Genres of Socialist Realism
  • The Soviet Cinema in Wartime
  • The German Cinema under the Nazis
  • The Nazi Regime and the Film Industry
  • Films of the Nazi Era
  • The Aftermath of the Nazi Cinema
  • Italy: Propaganda versus Entertainment
  • Industry Tendencies
  • A Cinema of Distraction
  • A New Realism?
  • References
  • Chapter 13: France: Poetic Realism, The Popular Front, and The Occupation, 1930–1945
  • Chapter 13 Introduction
  • The Industry and Filmmaking during the 1930s
  • Production Problems and Artistic Freedom
  • Fantasy and Surrealism: René Clair, Pierre Prévert, and Jean Vigo
  • Quality Studio Filmmaking
  • Émigrés in France
  • Everyday Realism
  • Poetic Realism
  • Doomed Lovers and Atmospheric Settings
  • The Creative Burst of Jean Renoir
  • Other Contributors
  • Brief Interlude: The Popular Front
  • Filmmaking in Occupied and Vichy France
  • The Situation in the Film Industry
  • Films of the Occupation Period
  • Reference
  • Chapter 14: Leftist, Documentary, and Experimental Cinemas, 1930–1945
  • Chapter 14 Introduction
  • The Spread of Political Cinema
  • The United States
  • Germany
  • Belgium and the Netherlands
  • Great Britain
  • International Leftist Filmmaking in the Late 1930s
  • Government- and Corporate-Sponsored Documentaries
  • The United States
  • Great Britain
  • Wartime Documentaries
  • Hollywood Directors and the War
  • Great Britain
  • Germany and the USSR
  • The International Experimental Cinema
  • Experimental Narratives and Lyrical and Abstract Films
  • Surrealism
  • Animation
  • References
  • Chapter 15: American Cinema in the Postwar ERA, 1945–1960
  • Part Four: The Postwar ERA: 1945–1960s
  • Chapter 15 Introduction
  • Postwar Changes, 1946–1948
  • The HUAC Hearings: The Cold War Reaches Hollywood
  • The Paramount Decision
  • The Decline of the Hollywood Studio System
  • Changing Lifestyles and Competing Entertainment
  • Hollywood Adjusts to Television
  • Art Cinemas and Drive-Ins
  • Challenges to Censorship
  • The New Power of the Individual Film and the Revival of the Roadshow
  • The Rise of the Independents
  • Mainstream Independents: Agents, Star Power, and the Package
  • Exploitation
  • Independents on the Fringe
  • Classical Hollywood Filmmaking: A Continuing Tradition
  • Complexity and Realism in Storytelling
  • Stylistic Changes
  • New Twists on Old Genres
  • Major Directors: Several Generations
  • Veterans of the Studio Era
  • Émigrés Stay On
  • Welles’s Struggle with Hollywood
  • The Impact of the Theater
  • New Directors
  • References
  • Chapter 16: Postwar European Cinema: Neorealism and Its Context, 1945–1959
  • Chapter 16 Introduction
  • The Postwar Context
  • Film Industries and Film Culture
  • West Germany: “Papas Kino”
  • Resistance to US Encroachment
  • Art Cinema: The Return of Modernism
  • Italy: Neorealism and After
  • Italian Spring
  • Defining Neorealism
  • Beyond Neorealism
  • A Spanish Neorealism?
  • References
  • Chapter 17: Postwar European Cinema: France, Scandinavia, and Britain, 1945–1959
  • Chapter 17 Introduction
  • French Cinema of the Postwar Decade
  • The Industry Recovers
  • The Tradition of Quality
  • The Return of Older Directors
  • New Independent Directors
  • Scandinavian Revival
  • England: Quality and Comedy
  • Problems in the Industry
  • Literary Heritage and Eccentricity
  • Art-House Success Abroad
  • References
  • Chapter 18: Postwar Cinema Beyond The West, 1945–1959
  • Chapter 18 Introduction
  • General Tendencies
  • Japan
  • Industry Recovery under the Occupation
  • The Veteran Directors
  • The War Generation
  • Postwar Cinema in the Soviet Sphere of Influence
  • The USSR: From High Stalinism to the Thaw
  • Postwar Cinema in Eastern Europe
  • People’s Republic of China
  • Civil War and Revolution
  • Mixing Maoism and Tradition
  • India
  • A Disorganized but Prolific Industry
  • The Populist Tradition and Raj Kapoor
  • Swimming against the Stream: Guru Dutt and Ritwik Ghatak
  • Latin America
  • Brazil and Argentina
  • Mexican Popular Cinema
  • References
  • Chapter 19: Art Cinema and the Idea of Authorship
  • Chapter 19 Introduction
  • The Rise and Spread of the Auteur Theory
  • Authorship and the Growth of the Art Cinema
  • Luis Buñuel (1900–1983)
  • Ingmar Bergman (1918–2007)
  • Akira Kurosawa (1910–1998)
  • Federico Fellini (1920–1993)
  • Michelangelo Antonioni (1912–2007)
  • Robert Bresson (1907–1999)
  • Jacques Tati (1908–1982)
  • Satyajit Ray (1921–1992)
  • References
  • Chapter 20: New Waves and Young Cinemas, 1958–1967
  • Chapter 20 Introduction
  • The Industries’ New Needs
  • Formal and Stylistic Trends
  • France: New Wave and New Cinema
  • The New Wave
  • New Cinema: The Left Bank
  • Italy: Young Cinema and Spaghetti Westerns
  • Great Britain: Kitchen Sink Cinema
  • Young German Film
  • New Cinema in the USSR and Eastern Europe
  • Young Cinema in the Soviet Union
  • New Waves in Eastern Europe
  • The Japanese New Wave
  • An Industry in Search of Youth
  • Oshima and Others
  • Brazil: Cinema Nôvo
  • Government Support and New Directors
  • Coups and the Cinema
  • Tropicalism and Cannibalism
  • References
  • Chapter 21: Documentary and Experimental Cinema in the Postwar Era, 1945–Mid-1960s
  • Chapter 21 Introduction
  • Toward the Personal Documentary
  • Innovative Trends
  • The National Film Board and Free Cinema
  • France: The Auteurs’ Documentaries
  • Jean Rouch and Ethnographic Documentary
  • Direct Cinema
  • The United States: Drew and Associates
  • Direct Cinema in Bilingual Canada
  • France: Cinéma Vérité and Provocation
  • Experimental and Avant-Garde Cinema
  • Abstraction, Collage, and Personal Expression
  • Success and New Ambitions
  • Underground and Expanded Cinema
  • References
  • Chapter 22: Hollywood’s Fall and Rise: 1960–1980
  • Part Five: The Contemporary Cinema Since the 1960s
  • Chapter 22 Introduction
  • The 1960s: The Film Industry in Recession
  • The Studios in Crisis
  • Styles and Genres
  • Modifying the Classical Studio Style
  • Identifying the Audience
  • The New Hollywood: Late 1960s to Late 1970s
  • Toward an American Art Cinema
  • Hollywood Strikes Gold
  • The Return of the Blockbuster
  • Hollywood Updated
  • Scorsese as Synthesis
  • Opportunities for Independents
  • References
  • Chapter 23: Politically Critical Cinema of the 1960s and 1970s
  • Chapter 23 Introduction
  • Political Filmmaking in the Third World
  • Revolutionary Aspirations
  • Political Genres and Style
  • Latin America
  • Black African Cinema
  • China: Cinema and the Cultural Revolution
  • Political Filmmaking in the First and Second Worlds
  • Eastern Europe and the USSR
  • Political Cinema in the West: A Culture of Dissent
  • References
  • Chapter 24: Documentary and Experimental Film Since the Late 1960s
  • Chapter 24 Introduction
  • Documentary Cinema
  • Direct Cinema and Its Legacy
  • Synthesizing Documentary Techniques
  • Questioning Documentary Actuality
  • Documenting Upheavals and Injustice
  • Theatrical Documentary in the Age of Video and the Internet
  • Structural Film and After
  • Structural Film
  • Reactions to Structural Film: The Return of Narrative
  • New Mergers
  • Film, Video, and Entry into the Museum
  • References
  • Chapter 25: New Cinemas and New Developments: Europe and the USSR Since the 1970s
  • Chapter 25 Introduction
  • Western Europe
  • Crisis in the Industry
  • National Traditions and International Trends
  • The Arresting Image
  • Eastern Europe and the USSR
  • Eastern Europe: From Reform to Revolution
  • From the USSR to the CIS
  • References
  • Chapter 26: A Developing World: Continental and Subcontinental Cinemas Since 1970
  • Chapter 26 Introduction
  • New Cinemas, New Audiences
  • African Cinema
  • North Africa
  • Sub-Saharan Africa
  • The 1990s and Beyond
  • Filmmaking in the Middle East
  • Israel and Palestine
  • Egypt
  • Turkey
  • Iran: Revolution, Renaissance, and Retreat
  • Countries in Conflict
  • South America and Mexico: Interrupted Reforms and Partnerships with Hollywood
  • Brazil
  • Argentina
  • Chile and Elsewhere
  • Mexico
  • Cuba, Industry in Isolation
  • India: Mass Output and Art Cinema
  • Alternatives to the Mainstream
  • Coproductions and Satellite TV
  • Popular Cinema Changes with the Times
  • Indian Cinema on the Global Stage
  • References
  • Chapter 27: Cinema Rising: Pacific Asia and Oceania Since 1970
  • Chapter 27 Introduction
  • Australia and New Zealand
  • Australia
  • New Zealand
  • New Cinemas in East Asia
  • Thailand
  • The Philippines
  • Taiwan
  • Japan
  • Independent Filmmaking: Two Generations
  • Hong Kong
  • Shaw Brothers and the New Wuxia Pian
  • South Korea
  • The Industry Expands
  • China: The Great Success Story
  • Economic Reforms and the Fifth Generation
  • The Sixth Generation and Illegal Films
  • The Cinema and “Market Socialism”
  • The Dragon Grows Stronger
  • References
  • Chapter 28: American Cinema and the Entertainment Economy: The 1980s and After
  • Part Six: Cinema in the Age of New Media
  • Chapter 28 Introduction
  • Hollywood, Cable Television, and Home Video
  • Movies in the Home
  • Concentration and Consolidation in the Film Industry
  • The Majors Stay Major
  • The Blockbuster Mentality
  • The Bottom Line
  • Multiplexing and Megaplexing: The New Face of Exhibition
  • Artistic Trends
  • Genres
  • Narrative Form and Style
  • Directors: Midrange Options and Blockbuster Obligations
  • A New Age of Independent Cinema
  • Indie Aesthetics
  • Indies and the Industry
  • References
  • Chapter 29: Toward A Global Film Culture
  • Chapter 29 Introduction
  • Hollyworld?
  • Hollywood Needs the World
  • The Media Conglomerates
  • Cooperation and Cooptation
  • Multiplexing the Planet
  • Regional Alliances, Media Empires, and the New International Film
  • Europe and Asia Try to Compete
  • Media Empires, West and East
  • Global Films from Outside Hollywood?
  • Diasporic Cinema
  • The Festival Circuit
  • Festivals and the Global Film Business
  • Video Piracy: An Alternative Distribution System
  • Fan Subcultures: Appropriating the Movies
  • The Fans and the Suits
  • References
  • Chapter 30: Digital Technology and the Cinema
  • Chapter 30 Introduction
  • Digital Tools: Piece by Piece
  • Preproduction
  • Postproduction
  • Shooting in Digital: Experiments on the Margins
  • Digital Tools for 35 mm Shooting
  • Publicity and Marketing
  • Digital Convergence: Putting the Pieces Together
  • The Digital Cinema Initiative
  • Theaters Go Digital
  • Promoting Digital Production: Early Adopters and Film Diehards
  • Effects on Film Form and Style
  • Digital Distribution
  • Digital Distribution to Theaters
  • DVD: Sales and Rental
  • Online Distribution: Downloads and Streaming
  • Streaming: The Long Tail Wags the Dog
  • New Media and the Future of Film
  • Video Games
  • Virtual and Augmented Reality
  • References
  • Color Plate
  • Color Plate
  • Student Resources
  • Introductory Essay
  • What Do Film Historians Do?
  • Some Key Questions
  • A Case Study
  • Conclusion
  • Notes and Queries
  • Chapter 1 Notes and Queries
  • Chapter 2 Notes and Queries
  • Chapter 3 Notes and Queries
  • Chapter 4 Notes and Queries
  • Chapter 5 Notes and Queries
  • Chapter 6 Notes and Queries
  • Chapter 7 Notes and Queries
  • Chapter 8 Notes and Queries
  • Chapter 9 Notes and Queries
  • Chapter 10 Notes and Queries
  • Chapter 11 Notes and Queries
  • Chapter 12 Notes and Queries
  • Chapter 13 Notes and Queries
  • Chapter 15 Notes and Queries
  • Chapter 16 Notes and Queries
  • Chapter 17 Notes and Queries
  • Chapter 18 Notes and Queries
  • Chapter 19 Notes and Queries
  • Chapter 20 Notes and Queries
  • Chapter 21 Notes and Queries
  • Chapter 22 Notes and Queries
  • Chapter 23 Notes and Queries
  • Chapter 24 Notes and Queries
  • Chapter 25 Notes and Queries
  • Chapter 26 Notes and Queries
  • Chapter 27 Notes and Queries
  • Chapter 28 Notes and Queries
  • Chapter 29 Notes and Queries
  • Chapter 30 Notes and Queries
  • General Bibliography
  • General Reference Works
  • Historiography
  • World Cinema Surveys
  • Regional and National Cinemas
  • Africa
  • Central and South America
  • East Asia and Pacific Region
  • Europe and the United Kingdom
  • Middle East
  • North America
  • Southeast Asia
  • Glossary
  • Glossary
  • Index
  • Index
  • Accessibility Content: Extended Descriptions for Images
  • A Cover of Film History Extended Description (FM)
  • Figure 2.21 Extended Description (Chapter 2)
  • Figure 2.48 Extended Description (Chapter 2)
  • Figure 2.51 Extended Description (Chapter 2)