Film Art: An Introduction, 11th Edition

Description

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the eleventh edition of Film Art delivers SmartBook, first and only adaptive reading experience currently available, designed to help students stay focused, maximize study time and retain basic concepts. Cover......Page 1 Half-Title......Page 2 Title......Page 4 Copyright......Page 5 ABOUT THE AUTHORS......Page 6 FILM ART—A PERSONALIZED LEARNINGAND TEACHING EXPERIENCE INFILM APPRECIATION......Page 7 FROM THE AUTHORS......Page 11 BRIEF CONTENTS......Page 13 CONTENTS......Page 14 PART 1: Film Art and Filmmaking......Page 20 CHAPTER 01: Film as Art: Creativity, Technology, and Business......Page 21 Art vs. Entertainment? Art vs. Business?......Page 22 Creative Decisions in Filmmaking......Page 23 CREATIVE DECISIONS To See into the Night in Collateral......Page 24 Illusion Machines......Page 28 Making Films with Photographic Film......Page 29 Filmmaking with Digital Media......Page 32 Making the Movie: Film Production......Page 36 The Scriptwriting and Funding Phase......Page 37 The Preparation Phase......Page 38 The Shooting Phase......Page 39 The Assembly Phase......Page 43 A CLOSER LOOK: Some Terms and Roles in Film Production......Page 44 Modes of Production......Page 48 Exploitation, Independent Production, and DIY......Page 49 Small-Scale Production......Page 50 Artistic Implications of Different Modesof Production......Page 52 Distribution: The Center of Power......Page 54 Exhibition: Theatrical and Nontheatrical......Page 59 Ancillary Markets: Taking Movies beyond the Theater......Page 61 Artistic Implications of Distribution and Exhibition......Page 62 Screens and Sounds: Stylistic Opportunities and Challenges......Page 64 SUMMARY......Page 67 PART 2: Film Form......Page 68 Chapter 02: The Significance of Film Form......Page 69 Form as Pattern......Page 70 “Form” Versus “Content”......Page 71 Formal Expectations......Page 73 Conventions and Experience......Page 74 Form and Feeling......Page 76 Form and Meaning......Page 77 Evaluation: Good, Bad, or Indifferent?......Page 80 Function......Page 81 Similarity and Repetition......Page 82 A CLOSER LOOK: Creative Decisions: Picking Out Patterns......Page 83 Difference and Variation......Page 85 Development......Page 86 SUMMARY......Page 89 Principles of Narrative Form......Page 91 What Is Narrative?......Page 92 CREATIVE DECISIONS: How Would You Tell the Story?......Page 93 Plot and Story......Page 94 Cause and Effect......Page 96 Time......Page 98 A CLOSER LOOK: Playing Games with Story Time......Page 101 Space......Page 103 Openings, Closings, and Patterns of Development......Page 104 Range of Story Information: Restricted or Unrestricted?......Page 106 Depth of Story Information: Objective or Subjective?......Page 109 The Narrator......Page 112 A CLOSER LOOK: When the Lights Go Down, the Narration Starts......Page 113 CREATIVE DECISIONS: Choices about Narration in Storytelling......Page 115 The Classical Hollywood Cinema......Page 116 Overall Narrative Expectations in Citizen Kane......Page 118 Plot and Story in Citizen Kane......Page 119 Citizen Kane’s Causality......Page 121 Time in Citizen Kane......Page 122 Motivation in Citizen Kane......Page 124 Citizen Kane’s Parallelism......Page 125 Patterns of Plot Development in Citizen Kane......Page 126 Narration in Citizen Kane......Page 127 SUMMARY......Page 129 PART 3: Film Style......Page 130 What Is Mise-en-Scene?......Page 131 The Power of Mise-en-Scene......Page 132 Setting......Page 134 Costume and Makeup......Page 138 Lighting......Page 143 Staging: Movement and Performance......Page 150 A CLOSER LOOK: The Film Actor’s Toolkit......Page 153 Putting It All Together:Mise-en-Scene in Space and Time......Page 159 CREATIVE DECISIONS: Mise-en-Scene in a Sequence from L’Avventura......Page 160 CREATIVE DECISIONS: Mise-en-Scene in Two Shots from Day of Wrath......Page 168 Time......Page 169 Narrative Functions of Mise-en-Scenein Our Hospitality......Page 173 SUMMARY......Page 177 The Range of Tonalities......Page 178 Speed of Motion......Page 183 A CLOSER LOOK: FROM MONSTERS TO THE MUNDANE: Computer-Generated Imagery in The Lord of the Rings......Page 184 Perspective......Page 187 Framing......Page 196 A CLOSER LOOK: Virtual Perspective: 3D......Page 198 Frame Dimensions and Shape......Page 200 CREATIVE DECISIONS: Using Widescreen Framing......Page 202 Onscreen and Offscreen Space......Page 204 Camera Position: Angle, Level, Height,and Distance of Framing......Page 206 CREATIVE DECISIONS: Camera Position in a Shot from The Social Network......Page 210 The Mobile Frame......Page 213 CREATIVE DECISIONS: Mobile Framing and Film Form in Grand Illusion and Wavelength......Page 222 Duration of the Image: The Long Take......Page 228 Functions of the Long Take......Page 229 The Long Take and the Mobile Frame......Page 231 SUMMARY......Page 234 Chapter 06: The Relation of Shot to Shot: Editing......Page 235 What Is Editing?......Page 236 CREATIVE DECISIONS: Why Cut? Four Shots from The Birds......Page 237 Graphic Relations between Shot A and Shot B......Page 238 Rhythmic Relations between Shot A and Shot B......Page 243 Spatial Relations between Shot A and Shot B......Page 244 Temporal Relations between Shot A and Shot B......Page 245 Continuity Editing......Page 249 Spatial Continuity: The 180° System......Page 250 Continuity Editing in The Maltese Falcon......Page 252 Continuity Editing: Some Fine Points......Page 256 CREATIVE DECISIONS: Are You Looking at Me? Point-of-View Cutting in Rear Window......Page 260 Crosscutting......Page 263 A CLOSER LOOK: Intensified Continuity: Unstoppable, L. A. Confidential, and Contemporary Editing......Page 265 Temporal Continuity: Order, Frequency,and Duration......Page 270 Alternatives to Continuity Editing......Page 271 Graphic and Rhythmic Possibilities......Page 272 Spatial and Temporal Discontinuity......Page 273 CREATIVE DECISIONS: Discontinuity Editing in October......Page 278 SUMMARY......Page 281 Sound Decisions......Page 282 The Powers of Sound......Page 283 Guiding Our Eye and Mind......Page 284 Perceptual Properties......Page 286 Recording, Altering, and Combining Sounds......Page 289 CREATIVE DECISIONSEditing Dialogue: To Overlap or Not to Overlap?......Page 292 Musical Motifs in Breakfast at Tiffany’s......Page 297 A CLOSER LOOK: Orchestrating Romance in Jules and Jim......Page 299 Rhythm......Page 300 Fidelity......Page 303 Space......Page 304 A CLOSER LOOK: Offscreen Sound and Optical Point of ViewThe Money Exchange in Jackie Brown......Page 306 Sound Perspective......Page 313 Time......Page 315 Conversation Piece......Page 319 SUMMARY......Page 321 The Concept of Style......Page 322 CREATIVE DECISIONS: Style and the Filmmaker......Page 323 Decision Making: Techniques Working Together......Page 324 Analyzing Style......Page 325 3. What Patterns Are Formed by the Techniques?......Page 326 4. What Functions Do the Techniquesand Patterns Fulfill?......Page 328 A CLOSER LOOK: Stylistic Synthesis in Shadow of a Doubt......Page 329 Mystery and the Penetration of Space......Page 331 Style and Narration:Restriction and Objectivity......Page 333 Narrative Parallels: Settings......Page 335 Parallels: Other Techniques......Page 336 Plot Time through Editing......Page 338 A CLOSER LOOK: Gravity: Film Style in the Digital Age......Page 341 SUMMARY......Page 343 PART 4: Types of Films......Page 344 Chapter 09: Film Genres......Page 345 Understanding Genre......Page 346 Defining a Genre......Page 347 Analyzing a Genre......Page 348 Genre History......Page 350 A CLOSER LOOK: Creative Decisions in a Contemporary GenreThe Crime Thriller as Subgenre......Page 351 The Social Functions of Genres......Page 354 The Western......Page 356 The Horror Film......Page 358 The Musical......Page 361 The Sports Film......Page 365 SUMMARY......Page 368 What Is a Documentary?......Page 369 The Boundaries between Documentary and Fiction......Page 371 Genres of Documentary......Page 372 Form in Documentary Films......Page 373 Categorical Form: Introduction......Page 374 CREATIVE DECISIONS: Engaging Viewers Using Categorical Form......Page 375 An Example of Categorical Form: Gap-Toothed Women......Page 376 Rhetorical Form: Introduction......Page 381 An Example of Rhetorical Form: The River......Page 383 Experimental Film......Page 388 A Range of Technical Choices......Page 389 CREATIVE DECISIONS: Designing Form in an Abstract Film......Page 390 An Example of Abstract Form: Ballet Mécanique......Page 392 Associational Form: Introduction......Page 397 An Example of Associational Form: Koyaanisqatsi......Page 398 Types of Traditional Animation......Page 406 Types of Computer Animation......Page 408 An Example of Traditional Animation: Duck Amuck......Page 411 An Example of Experimental Animation: Dimensions of Dialogue......Page 413 SUMMARY......Page 417 PART 5: Critical Analysis of Films......Page 418 Chapter 11: Film Criticism: Sample Analyses......Page 419 His Girl Friday......Page 420 North by Northwest......Page 423 Do The Right Thing......Page 427 Moonrise Kingdom......Page 432 Breathless (À bout de souffle)......Page 437 Tokyo Story (Tokyo Monogatari)......Page 442 Chungking Express (Chung Hing sam lam)......Page 447 Man with a Movie Camera (Chelovek s kinoapparatom)......Page 451 The Thin Blue Line......Page 455 Meet Me in St. Louis......Page 460 Raging Bull......Page 465 PART 6: Film Art and Film History......Page 470 Chapter 12: Historical Changes inFilm Art: Conventions and Choices, Tradition and Trends......Page 471 CREATIVE DECISIONS: Film Form and Style across History......Page 472 Traditions and Movements in Film History......Page 474 Early Cinema (1893–1903)......Page 475 Edison vs. Lumière......Page 476 Early Form and Style......Page 477 Méliès, Magic, and Fictional Narrative......Page 478 Hollywood and the Studio System of Production......Page 479 Classical Form and Style in Place......Page 481 German Expressionism (1919–1926......Page 482 French Impressionism and Surrealism (1918–1930)......Page 485 Impressionism......Page 486 Surrealism......Page 487 Artists and the State......Page 489 NEP Cinema......Page 490 The Movement Ends......Page 491 Problems and Solutions......Page 493 Studios, Genres, and Spectacle......Page 494 Deep Focus and Narrative Innovations......Page 495 Italian Neorealism (1942–1951)......Page 496 A New Model of Storytelling......Page 497 The French New Wave (1959–1964)......Page 498 A New Wave Style......Page 499 Into the Mainstream and Beyond......Page 500 The New Hollywood and Independent Filmmaking, 1970s–1980s......Page 501 The Rise of the Movie Brats......Page 502 Other Paths......Page 503 The 1980s and After......Page 504 Hollywood and Independents, To Be Continued......Page 506 A Local Tradition Goes Global......Page 507 Story and Style......Page 508 Legacy Overseas......Page 510 GLOSSARY......Page 512 CREDITS......Page 518 A......Page 520 B......Page 521 C......Page 522 D......Page 525 E......Page 526 F......Page 527 G......Page 529 H......Page 530 I......Page 531 L......Page 532 M......Page 534 N......Page 536 O......Page 537 P......Page 538 R......Page 539 S......Page 540 T......Page 543 W......Page 544 Z......Page 545