Schirmer Encyclopedia of Film

Independent Film......Page 3
Independence In Early And Silent American Cinema......Page 4
Independence In Classical Hollywood......Page 5
Samuel Z. Arkoff......Page 6
Independence In The New Hollywood......Page 9
Independence In Contemporary Hollywood......Page 11
John Sayles......Page 12
Early Indian Cinema......Page 15
Indian Cinema After Independence......Page 16
Raj Kapoor......Page 17
Trends And Genres......Page 18
National Cinema And Regional Cinemas......Page 19
Satyajit Ray......Page 20
Stars......Page 21
Art Cinema......Page 22
Movie Promotion On The Internet......Page 25
Paradigm And Online Fan Discourse......Page 26
Movie Distribution And The Internet......Page 28
Postrevolution......Page 30
Abbas Kiarostami......Page 31
Ireland......Page 34
Indigenous Cinema And National Identity......Page 35
Cinema Since Statehood......Page 38
After The 1977 Political Turnover......Page 39
Beginnings: The Silent Period......Page 42
Cinema Under Fascism: The Advent Of Sound And The Increase Of National Production......Page 43
Postwar Neorealism: A Brief Decade......Page 44
The ‘‘Crisis’’ Of Neorealism And Explosion Of Styles And Genres......Page 45
Recommended Reading......Page 46
The Triumph Of The International Art Film......Page 47
The Second Wave: A New Post-neorealist Generation Of Auteurs......Page 48
Sophia Loren......Page 49
The Comedia All'Italiana: Social Satire And Cultural Criticism......Page 52
Lina Wertmuller......Page 53
Kings Of The Bs: Italian Genre Films......Page 55
The Decline And Fall: The Mid-1970s To The End Of The Century......Page 56
The Third Wave: A New Generation For The Twenty-first Century......Page 57
Early Developments......Page 60
The First Golden Age......Page 62
Yasujiro Ozu......Page 63
Eruption And Interruption Of War......Page 64
The Second Golden Age......Page 65
Akira Kurosawa......Page 68
The Lost Decade and a Minor Renaissance......Page 70
Toshiro Mifune......Page 71
Fanzines......Page 74
Prozines And Populist Film Magazines......Page 75
News Weeklies, Newspapers, And Trade Journals......Page 76
Pauline Kael......Page 77
Academic Journals......Page 78
Early History......Page 80
The Golden Age Of Cinema In South Korea......Page 81
The New Korean Cinema......Page 82
Im Kwon-Taek......Page 83
North Korea......Page 84
Latinos And Hollywood Film......Page 85
Challenges In Sound Era Hollywood......Page 86
Origins Of Chicano And Latino Cinema......Page 87
Luis Valdez......Page 88
Lighting......Page 92
Lighting Crews And Their Collaborators......Page 94
Lighting Technology And Film Style......Page 96
John Alton......Page 98
Thailand......Page 101
Prince Chatrichalerm Yukol......Page 103
Former Southeast Asian Colonies......Page 104
History......Page 107
Aesthetics......Page 109
Jack P. Pierce......Page 111
Wu Xia Pian......Page 114
Everybody Was Kung Fu Fighting......Page 115
Bruce Lee......Page 116
Martial Arts In Global Context......Page 118
Marxism And Early Cinema......Page 120
European Cinema Before And After World War Ii......Page 121
Pier Paolo Pasolini......Page 124
Hollywood And The Left......Page 125
The 1960s And After......Page 127
Melodrama And Meaning......Page 129
Melodrama And Film Studies......Page 130
Douglas Sirk......Page 131
Recent Developments In Film Theory......Page 132
Vincente Minnelli......Page 134
Historical Background And Definitions......Page 137
Case Study: Spider-Man......Page 139
George Lucas......Page 140
Sound And The Golden Age Of Mexican Cinema......Page 142
Arturo Ripstein......Page 144
The Rise Of Metro-Goldwyn-Mayer......Page 147
Louis B. Mayer......Page 148
Ruling 1930s Hollywood: Depression-era Dominance......Page 149
Greta Garbo......Page 150
The Mayer Regime......Page 152
Struggle, Decline, And Dismemberment......Page 154
Elements Of Mise-en-scene......Page 156
Hitchcock......Page 157
Moving Cameras And Long Takes......Page 158
Later Uses Of Mise-en-scene......Page 160
How Film Music Works......Page 161
Bernard Herrmann......Page 163
Music In Silent Film......Page 164
The Conversion To Sound......Page 166
The Classical Hollywood Film Score......Page 167
The Classical Score And Beyond: Inside And Outside Hollywood......Page 168
John Williams......Page 169
The Use Of Popular Song......Page 171
International Film: Other Traditions, Other Practices......Page 172
Sergei Prokofiev......Page 173
Music And Animation......Page 174
Conclusion......Page 176
The Rise Of The Film Musical......Page 177
Love, Romance, And Sex......Page 179
Decline And Change......Page 181
Busby Berkeley......Page 183
Finale......Page 184
Gene Kelly......Page 185
Defining Film Narrative......Page 187
Toward A History Of Film Narrative......Page 188
Classical Realism......Page 190
D. W. Griffith......Page 191
Narrative Theory......Page 193
Conclusions......Page 194
National Cinema, Political Economy, And Ideology......Page 196
Colonial/Postcolonial Cinemas......Page 197
National/transnational Cinemas: United States, India, Hong Kong......Page 198
Diasporic Cinemas......Page 199
Movie Indians......Page 201
Native Americans In Movies......Page 202
Early History......Page 205
Arne Sucksdorff......Page 207
Nature As A Television Genre......Page 208
Nature On Big (and Really Big) Screens......Page 209
Historical Origins Of Italian Neorealism......Page 212
Cesare Zavattini......Page 214
Critical Reception And Legacy......Page 216
Early Dutch Cinema......Page 219
Postwar Cinema......Page 220
French Film Culture In The 1950s......Page 223
French Cinema And The New Wave......Page 225
Jean-Luc Godard......Page 226
What Was New About The New Wave?......Page 228
The Renewal Of Film Form......Page 229
Alain Resnais......Page 230
When Was The New Wave?......Page 231
The Global Impact Of The French New Wave......Page 232
Formative Years......Page 234
The New Wave And Beyond......Page 235
Paramount And The Emergence Of The Hollywood Studio System......Page 238
Josef Von Sternberg......Page 239
The War Boom, The Paramount Decree, And The Early Television Era......Page 242
Gary Cooper......Page 244
Paramount In The New Hollywood: Blockbuster Franchises And Global Conglomerates......Page 245
Parody......Page 248
Parody In Classical Hollywood Film......Page 249
Parody In The Age Of Television......Page 250
Mel Brooks......Page 251
Parody And The Postmodern......Page 252
The First Golden Age and After......Page 254
A New Wave......Page 255
Contemporary Film......Page 256
The Silent Era And The 1930s......Page 257
From World War Ii To Martial Law: 1939–1980......Page 258
‘The Cinema of Moral Concern’’ and The Fall Of Communism: 1980-1989......Page 260
Andrzej Wajda......Page 261
Film In Poland After 1989......Page 262
The Myth Of Populism......Page 264
Capra And Populism......Page 265
Brief History......Page 267
Heterosexual Hard-core Conventions......Page 270
Radley Metzger......Page 271
The Meese Commission And The Sex Wars— Discourses On Pornography......Page 272
Theorizing The Postmodern......Page 275
Postmodernism And Film......Page 276
Guy Maddin......Page 277
Optical Toys......Page 281
Magic Lanterns......Page 283
The Beginnings Of Photography......Page 284
Photographing Motion......Page 286
Panoramas......Page 287
Eadweard Muybridge......Page 288
Academy Awards......Page 290
Critics’ Awards......Page 291
Other Awards......Page 292
The Film Producer’s Functions......Page 294
Studio And Independent Producers......Page 296
Irving Thalberg......Page 297
Directors and Stars As Producers......Page 298
Film Producers Today......Page 299
Jerry Bruckheimer......Page 301
Realism And Stylization......Page 304
William Cameron Menzies......Page 305
Production Realities......Page 307
Ferdinando Scarfiotti......Page 309
Production Design And The Audience......Page 311
Development Of The Production Process In The United States......Page 312
Development And Planning......Page 313
Preproduction......Page 315
Principal Photography......Page 316
Postproduction......Page 318
Variations In The Production Process......Page 320
Early Film History And Propaganda......Page 322
Propaganda And Nation......Page 323
Leni Riefenstahl......Page 325
Postwar Propaganda......Page 326
New Comic Propaganda......Page 329
Cinema And The Unconscious......Page 332
Cinema And The Mirror......Page 334
Rediscovering The Gaze......Page 335
Publicity And Promotion......Page 337
Fundamentals Of Film Advertising......Page 338
Consolidating The System: The Advertising Code......Page 339
Post-classical Advertising......Page 340
William Castle......Page 341
Publicity And The Film Star......Page 342
Queer Theory......Page 345
Theories Of Visual Exchange......Page 346
Fantasy, Reception, And Queer Reading Strategies......Page 347
Rainer Werner Fassbinder......Page 349
Race And Ethnicity......Page 351
The Production Code And ‘‘Miscegenation’’......Page 352
Hollywood Whiteness And Stereotypes......Page 354
James Young Deer Princess Red Wing (lillian St. Cyr)......Page 355
Reception, Spectatorship, And Oppositional Cinemas......Page 357
Julie Dash......Page 358
Early Experimentation......Page 361
Radio Goes Hollywood......Page 362
Crossover Careers......Page 364
After TV......Page 365
Making Movies Real......Page 367
The Realist Tendency......Page 368
Realisminfilmhistory......Page 370
Jean Renoir......Page 371
Theories Of Realism......Page 372
Realism’s Discontents......Page 373
Andreґ Bazin......Page 374
Methodology......Page 377
Reception Studies and Classical Film Theory......Page 378
The ‘‘Religious Film’’: A Genre?......Page 381
Cinema, Modernity, And Religion......Page 383
Krzysztof Kiesґ Lowski......Page 384
Postscript: Religion, Film, And The Vatican......Page 387
RKO Radio Pictures......Page 389
The Formation And Early Development Of Rko......Page 390
Reworking The Ua Model......Page 391
Orson Welles......Page 392
Wartime Recovery......Page 393
Val Lewton......Page 394
The Decline And Fall Of Rko......Page 395
Iconography, Style, And Themes......Page 398
From Classical Hollywood To Counterculture......Page 399
International Road Movies......Page 400