Beginning film studies offers the ideal introduction to this vibrant subject. Written accessibly and with verve, it ranges across the key topics and manifold approaches to film studies. Andrew Dix has thoroughly updated the first edition, and this new volume includes new case studies,overviews of recent developments in the discipline, and up-to-the-minute suggestions for further reading.The book begins by considering some of film's formal features - mise-en-scene, editing and sound - before moving outwards to narrative, genre, authorship, stardom and ideology. Later chapters onfilm industries and on film consumption - where and how we watch movies - assess the discipline's recent geographical "turn".The book references many film cultures, including Hollywood, Bollywood and contemporary Hong Kong. Case studies cover such topics as sound in The Great Gatsby and narrative in Inception. The superhero movie is studied; so too is Jennifer Lawrence. Beginning film studies is also interactive, withreaders enabled throughout to reflect critically upon the field.
Doing Film Studiesexamines what it really means to study film, encouraging the reader to question the dominant theories as well as understanding the key approaches to cinema. This book provides an overview of the construction of film studies - including its history and evolution - and examines the application of theories to film texts. Important questions discussed include: Why does film studies need a canon? What is the relationship between authorship and genre theory? What is screen theory? How do we read a film text? Why is the concept of the spectator important to film? How is film involved in national identity? What is meant by a ‘film industry’? Aimed at students in their final year of secondary education or beginning their degrees, Doing Film Studiesequips the reader with the tools needed in approaching the study of film.
An Introduction to Film Studies has established itself as the leading textbook for students of cinema. This revised and updated third edition guides students through the key issues and concepts in film studies, and introduces some of the world's key national cinemas including British, Indian, Soviet and French. Written by experienced teachers in the field and lavishly illustrated with over 122 film stills and production shots, it will be essential reading for any student of film.Features of the third edition include:*full coverage of all the key topics at undergraduate level*comprehensive and up-to-date information and new case studies on recent films such as Gladiator , Spiderman , The Blair Witch Project, Fight Club , Shrek and The Matrix*annotated key readings, further viewing, website resources, study questions, a comprehensive bibliography and indexes, and a glossary of key terms will help lecturers prepare tutorials and encourage students to undertake independent study.Individual chapters include:*Film form and narrative*Spectator, audience and response*Critical approaches to Hollywood cinema: authorship, genre and stars*Animation: forms and meaning*Gender and film*Lesbian and gay cinema*British cinema*Soviet montage Cinema*French New Wave*Indian Cinema
Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd
Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
Film studies has been a part of higher education curricula in the United States almost since the development of the medium. Although the study of film is dispersed across a range of academic departments, programs, and scholarly organizations, film studies has come to be recognized as a field in its own right. In an era when teaching and scholarship are increasingly interdisciplinary, film studies continues to expand and thrive, attracting new scholars and fresh ideas, direction, and research. Given the dynamism of the field, experienced and beginning instructors alike need resources for bringing the study of film into the classroom. This volume will help instructors conceptualize contemporary film studies in pedagogical terms. The first part of the volume features essays on theory and on representation, including gender, race, and sexuality. Contributors then examine the geographies of cinema and offer practical suggestions for structuring courses on national, regional, and transnational film. Several essays focus on interdisciplinary approaches, while others describe courses designed around genre (film noir, the musical), mode (animation, documentary, avant-garde film), or the formal elements of film, such as sound, music, and mise-en-scene. The volume closes with a section on film and media in the digital age, in which contributors discuss the opportunities and challenges presented by access to resources, media convergence, and technological developments in the field.
Studies in French Cinema looks at the development of French screen studies in the United Kingdom over the past twenty years and the ways in which innovative scholarship in the UK has helped shape the field in English- and French-speaking universities. This seminal text is also a tribute to six key figures within the field who have been leaders in research and teaching of French cinema: Jill Forbes, Susan Hayward, Phil Powrie, Keith Reader, Carrie Tarr, and Ginette Vincendeau. Covering a wide range of key films—contemporary and historical, popular and auteur—the volume provides an invaluable overview for students and scholars of the state of French cinema, and French film studies at the beginning of the twenty-first century.
"The chapters include "Film as Audiovisual Representation," "Montage," "Cinema and Narration," "Cinema and Language," and "Film and Its Spectator." With numerous references to specific films and many black-and-white stills, the book will be useful for both beginning film students and advanced scholars who need a summary of the major stages in the development of film theory and aesthetics."--BOOK JACKET. "Beyond its obvious appeal to cinema students, Aesthetics of Film also raises theoretical, critical, and historical issues of interest to everyone working in the larger field of cultural studies. These issues include the ideological dimensions of visual representation, problems in narrative theory, concepts applicable to linguistic and textual analysis, and issues surrounding the audience."--BOOK JACKET.
Film, Form, and Culture (4th edition) offers a lively introduction to both the formal and cultural aspects of film. With extensive analysis of films past and present, this textbook explores film from part to whole; from the smallest unit of the shot to the way shots are edited together to create narrative. It then examines those narratives (both fiction and non-fiction) as stories and genres that speak to the culture of their time and our perceptions of them today. Composition, editing, genres (such as the gangster film, the Western, science fiction, and melodrama) are analyzed alongside numerous images to illustrate the discussion. Chapters on the individuals who make films - the production designer, cinematographer, editor, composer, producer, director, and actor - illustrate the collaborative nature of filmmaking. This new edition includes: An expanded discussion of the digital 'revolution" in filmmaking: exploring the movement from celluloid to digital recording and editing of images, as well as the use of CGI A new chapter on international cinema that covers filmmaking from Italy to Mumbai offering students a broader understanding of cinema on a worldwide scale A new chapter on film acting that uses images to create a small catalogue of gestures and expressions that are recognizable in film after film Expanded content coverage and in-depth analysis throughout, including a visual analysis of a scene from Christopher Nolan’s The Dark Knight An expanded chapter on the cultural contexts of film summarizes the theories of cultural and media studies, concluding with a comparative analysis of Alfred Hitchcock’s Vertigo and Judd Apatow’s This is 40 Over 260 images, many in color, that create a visual index to and illustration of the discussion of films and filmmaking Each chapter ends with updated suggestions for further reading and viewing, and there is an expanded glossary of terms. Additional resources for students and teachers can also be found on the companion website (www.routledge.com/cw/kolker), which includes additional case studies, discussion questions and links to useful websites. This textbook is an invaluable and exciting resource for students beginning film studies at undergraduate level.
The Analysis of Film brings together the authors studies of classic Hollywood film. It is a book about the methods of close film analysis, the narrative structure of Hollwood film, Hitchcock's work and the role of women.
From the very beginning of cinema, there have been amateur filmmakers at work. It wasn’t until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and by the 1950s, over a million Americans had amateur movie cameras. In Amateur Cinema, Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture. In the middle decades of the twentieth century—the period that saw Hollywood’s rise to dominance in the global film industry—a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.
This anthology of specially commissioned essays introduces students to some of the central questions and debates which have concerned the development of Film Studies. It differs from other readers in that it does not start with the intellectual history of the evolution of film theory, or the history and criticism of film, but with the problems and questions that confront us now. The contributors begin with questions that are central to the field, asking what we need to know and what theories, concepts, and methods help us to know. These questions that confront the discipline at the beginning of a new century, either reframe or depart from the concerns of the 1970s when film first became an academic subject of study. This second century of moving images, new questions, and a new knowledge animate the field. The aim of this collection is to reinvent film studies in the light of these new questions, rethinking and refiguring what is most useful from the past. There are fourkey issues in this reinvention: that film studies can no longer ignore its interdisciplinary invention next to media studies, cultural studies and visual culture, and that film studies thus needs to confront the 'massness' of its existence as mass media; that film studies has a distinctive and historically changing sensory appeal; that since mass mediated culture is the only terrain on which we have to work, we need to re-confront the aesthetic, generic and modal forms of this mass media; and,finally, that the pressure of postmodernity has compelled a new urgency in the understanding of film history, which is never wholly about then and certainly always about now.
Building on the groundwork laid by the AS Film Studies syllabus, A2 Film Studies: The Essential Introductionintroduces students to the diversity of cinematic styles and to different film cultures as well as positioning film within wider political, cultural and artistic debates. The book is designed to support students through the transition from a focus on textual analysis to the consideration of the wider contexts that inform any study of Film. Individual chapters cover the following key areas: The Small Scale Research Project Practical Application of Learning Studies in World Cinema The Film Text and Spectator Producers and Audiences â€“ Issues and Debates Messages and Values â€“ Critical Approaches Specially designed to be user-friendly, A2 Film Studies: The Essential Introductionincludes: activities sample exam questions further reading a glossary of key terms and resources case studies
Bringing together twenty-five years of work on what he has called the "historical poetics of cinema," David Bordwell presents an extended analysis of a key question for film studies: how are films made, in particular historical contexts, in order to achieve certain effects? For Bordwell, films are made things, existing within historical contexts, and aim to create determinate effects. Beginning with this central thesis, Bordwell works out a full understanding of how films channel and recast cultural influences for their cinematic purposes. With more than five hundred film stills, Poetics of Cinema is a must-have for any student of cinema.