Schrimer encyclopedia of film - Academy Awards - Crime Films

Editorial Board......Page 5
Contents......Page 6
Preface......Page 7
List of Articles......Page 9
Academy Awards......Page 13
Early History......Page 14
Statuette......Page 15
Other Academy Categories And Awards......Page 16
Other Academy Activities......Page 17
Katharine Hepburn......Page 18
Notable Achievements......Page 19
Protest And Critique......Page 20
Integrating Performance And Other Cinematic Elements......Page 22
Questions About Acting, Narrative, And Audiovisual Design......Page 23
Audience Experience, Cultural Conventions, And Traditions In The Performing Arts......Page 26
John Cassavetes......Page 29
Presentational And Representational Acting......Page 30
Bertolt Brecht......Page 31
Marlon Brando......Page 33
Changing Views Of Mediated Performance......Page 35
Early And Silent Action And Adventure......Page 37
Classical Cinema: Historical Adventure......Page 39
Errol Flynn......Page 40
Challenges And Change: The 1970s And After......Page 41
International Action......Page 42
Arnold Schwarzenegger......Page 43
Critical Perspectives: Nation, Gender, And Race......Page 44
Adaptation......Page 46
Filming Classic Fiction: 1927 To The Present......Page 47
John Huston......Page 50
Case Study: Adaptations Of Charles Dickens......Page 51
Genre Adaptations: Westerns, Crime, And......Page 53
Raymond Chandler......Page 54
Other Kinds Of Adaptation......Page 56
Beginnings......Page 57
Ousmane Sembene......Page 58
National Cinemas......Page 60
Issues And Trends......Page 63
Jean-Marie Teno......Page 65
Race Movies......Page 67
Breaking Down Barriers......Page 69
Oscar Micheaux......Page 70
The First Black Renaissance......Page 71
Sidney Poitier......Page 72
The Independent Spirit......Page 74
Blaxploitation......Page 75
New Jack Cinema......Page 76
Spike Lee......Page 77
Future Prospects......Page 78
Beginnings......Page 79
Radio And The Movies......Page 80
Postwar Changes......Page 81
Lew Wasserman......Page 82
Post MCA......Page 83
Animals In Production......Page 86
Structuring Animal Performance......Page 88
The Animal Star System......Page 89
Cartoons......Page 92
3D Stop-Motion Animation......Page 93
Digital Animation......Page 96
Jan Svankmajer......Page 97
Alternative Methods......Page 100
Norman McLaren......Page 101
Arabs In Hollywood......Page 104
Beginnings And Landmarks......Page 105
Elia Suleiman......Page 107
Arab Cinema Since The Late 1980s......Page 108
Themes......Page 109
Patterns In New Arab Cinema......Page 110
The Necessity Of Archives......Page 112
The First Generation......Page 113
Henri Langlois......Page 114
Moving Image Archives And History......Page 116
Peronista And Neofascist Impact On The Industry......Page 118
Major Figures......Page 119
Twenty-first Century Trends......Page 121
Extended Definitions......Page 122
Michelangelo Antonioni......Page 123
Restricted Definitions......Page 124
Textual Characteristics......Page 125
Art Cinema And Audience......Page 126
Art Cinema In The Twenty-first Century......Page 128
Precursors......Page 130
Representation And Stereotypes......Page 131
From Short Subjects To Feature Films......Page 133
Wayne Wang......Page 134
Optimism And Growth: The Early Years......Page 138
American Conquest, Australian Resistance: 1914 To 1932......Page 139
Government Intervention In The 1920s And 1930s......Page 140
Peter Weir......Page 141
The Australian New Wave: The Comedies......Page 142
From The New Wave To Genre Films......Page 143
Jane Campion......Page 145
Australian Film And Australian Culture......Page 146
Ascertaining Authorship In Cinema......Page 148
Authorship And Postwar French Criticism......Page 149
Howard Hawks......Page 150
Authorship And......Page 151
Authorship And Film Criticism In Britain And The Us In The 1960s......Page 154
Robin Wood......Page 155
The Impact Of Auteurism On The Development Of Film Studies......Page 156
The Triumph Of The Director As Auteur......Page 157
The Economics Of B Movies......Page 159
Bs At The Majors......Page 160
The Bs Of Poverty Row......Page 161
The Aethestics Of B Movies......Page 162
Edgar G. Ulmer......Page 163
Decline Of The Bs......Page 164
Emergence Of The Genre......Page 167
The Coming Of Sound And The Interwar Years......Page 168
The Biopic In War......Page 169
Postwar Transformations And Beyond......Page 170
Ken Russell......Page 172
New Channels......Page 173
The......Page 175
Chanchadas: A Film Industry For A National Cinema......Page 176
Cinema Novo......Page 177
Carlos Diegues......Page 178
The Aesthetics Of Hunger......Page 179
Cannibalism And Tropicalism......Page 180
The Globalization Of National Cinema......Page 181
Development Of The Motion Picture Camera......Page 184
Thomas Alva Edison......Page 186
Anatomy Of A Camera......Page 187
Technological Developments......Page 190
Richard Leacock......Page 191
Types Of Camera Movement......Page 194
Kenji Mizoguchi......Page 195
Functions Of Camera Movement......Page 198
Camera Movement And The Long Take......Page 200
Max Ophuls......Page 201
Beginnings......Page 205
The National Film Board......Page 206
A Feature Film Industry Begins......Page 207
David Cronenberg......Page 208
Filmmaking In Quebec......Page 209
The Canadian New Wave......Page 211
Atom Egoyan......Page 212
Early Canon Formation......Page 215
The Influence Of Bazin And Auteurism......Page 216
Contemporary Challenges To The Canon......Page 217
Cartoons......Page 219
The Golden Era......Page 220
Chuck Jones......Page 222
The Television Era......Page 223
Casting In The Studio Era......Page 226
Stock Companies......Page 228
Lynn Stalmaster......Page 229
Off-casting And Miscasting......Page 231
Alternative Approaches To Casting......Page 232
American Film Censorship......Page 233
Will H. Hays......Page 234
British Film Censorship......Page 235
Pressure Groups And The Media......Page 237
Exhibition And Distribution......Page 238
Sex And Violence......Page 239
The Classical Studio Era......Page 241
Ed Harris......Page 244
Contemporary Hollywood......Page 245
Early Child Stars......Page 247
Child Stars After The 1950s......Page 249
Shirley Temple......Page 250
Recent Years......Page 252
Films For Children Before Disney......Page 254
Films For Children After Disney......Page 255
International Films About Children......Page 256
American Films About Children After World War II......Page 257
Industrial Experiments......Page 260
Exile And Beyond......Page 261
Raul Ruiz......Page 262
Beginnings And First Generation......Page 265
Third Generation......Page 266
Fifth Generation......Page 267
Zhang Yimou......Page 269
Planned Economy Era......Page 270
Cinematic Contexts......Page 272
Recognizable Choreographers......Page 273
Bob Fosse......Page 275
Nonmusical Films......Page 276
Cinematography......Page 277
The Cinematographer’s Technique......Page 278
The Cinematographer’s Tools......Page 279
Gregg Toland......Page 280
Nestor Almendros......Page 283
‘‘Good’’ Cinematography......Page 284
Rear-Projection And Other Challenges......Page 287
French Cinephilia......Page 290
American Cinephilia......Page 291
The Future Of Cinephilia......Page 292
Working-class Entertainment......Page 294
Challenges To The Class Structure......Page 295
Mike Leigh......Page 297
Discussing Class During The Cold War......Page 298
Cinema In The Age Of Late Capitalism......Page 300
The Red Menace......Page 302
The Blacklist......Page 303
Edward Dmytryk......Page 305
Dalton Trumbo......Page 307
The Hip Cold War......Page 309
Partnerships In Early Cinema And The Studio Era......Page 312
From Auteurs To Amateurs......Page 315
Definition Of Terms......Page 316
European Colonial Cinema......Page 317
Tracey Moffatt......Page 318
Postcolonial Cinema Worldwide......Page 320
Tinting, Toning, And Early Color Systems......Page 323
Three-strip Technicolor......Page 325
Herbert Thomas Kalmus......Page 326
The Color Effect And Color Film......Page 328
Some Important Color Films......Page 330
The Rise of Columbia Pictures......Page 332
Capra, Cohn, And The Columbia House Style......Page 333
Harry Cohn......Page 334
The Wartime And Postwar Eras......Page 336
Rita Hayworth......Page 337
Post-Cohn Columbia: Into The New Hollywood......Page 340
Clown Comedy......Page 342
Dark Comedy......Page 344
Charlie Chaplin......Page 345
Parody......Page 347
Romantic Comedy......Page 348
Woody Allen......Page 349
Comic Strips On Film......Page 353
American Comic Books On Film......Page 354
Comic Book Films In Europe And Asia......Page 355
The Cartoonist-filmmaker Connection......Page 356
‘‘Film Europe’’ And The Early Sound Film......Page 357
The Postwar Era......Page 358
Co-production Today......Page 359
The Costume’s Construction And Purpose......Page 362
The Costume Designer’s Relationship With The Film Crew And Cast......Page 363
International History Of Costume Design......Page 365
Adrian......Page 366
Trend Setting......Page 367
Main Titles And End Titles......Page 370
Saul Bass......Page 371
Billing......Page 372
Titles In Film History......Page 373
Titling Techniques......Page 374
Crew......Page 377
The Director And Team......Page 378
Pre-production: The Script, Casting, And Locations......Page 379
Camera, Lighting, Electrical, And Production Sound Departments......Page 380
Postproduction Sound......Page 381
Crew Size and Onscreen Credits......Page 382
Crime Films......Page 384
A Brief History of Movie Crime......Page 385
The Structure Of Crime Formulas......Page 386
An Enduring Ambivalence......Page 387
Humphrey Bogart......Page 388
A Man’s World......Page 390
Crime, Entertainment, And Society......Page 391
Martin Scorsese......Page 392