The Film Experience

Front Matter
	Cover Page
	Bring your film experiences to life
	Title Page
	Copyright Page
	Dedication
	About the Authors
	Preface
	Brief Contents
	Contents
	Halftitle Page
Part 1: Cultural Contexts: watching, studying, and making movies
	Introduction: Studying Film: Culture and Experience
		Why Film Studies Matters
		Film Spectators and Film Cultures
			Form in Action: Identification, Cognition, and Film Variety
		The Film Experience
		Concepts at Work
	Chapter 1: Encountering Film: From Preproduction to Exhibition
		Production: How Films Are Made
			Preproduction
			Production
			Postproduction
		Distribution: What We Can See
			Distributors
			Ancillary Markets
			Distribution Timing
		Marketing and Promotion: What We Want to See
			Generating Interest
				Film in Focus: Distributing Killer of Sheep (1977)
			Advertising
				Form in Action: The Changing Art and Business of the Film Trailer
				Viewing Cue: Suicide Squad (2016)
			Word of Mouth and Fan Engagement
		Movie Exhibition: The Where, When, and How of Movie Experiences
			The Changing Contexts and Practices of Film Exhibition
			Technologies and Cultures of Exhibition
			The Timing of Exhibition
				Film in Focus: Exhibiting Citizen Kane (1941)
		Concepts at Work
	Chapter 2: History and Historiography: Hollywood and Beyond
		Silent Cinema
			Silent Features in Hollywood
			German Expressionist Cinema
			Soviet Silent Films
			French Cinema
				History Close Up: Oscar Micheaux
		Classical Cinema in Hollywood and Beyond
			European Cinema in the 1930s and 1940s
			Golden Age Mexican Cinema
		Postwar Cinemas (1945–1975)
			Postwar Hollywood
			International Art Cinema
				Viewing Cue: Gilda (1946) and Rome, Open City (1945)
		Cinematic Globalization (1975–2000)
			New Hollywood in the Blockbuster Era
				Film in Focus: Taxi Driver and New Hollywood (1976)
			The Commercial Auteur
			American Independent Cinema
			From National to Transnational Cinema in Europe
			African Cinema
			Chinese Cinema
			Iranian Cinema
		Cinema in the Digital Era (2000–present)
			Global Hollywood
			Diversifying Screens
				Viewing Cue: Beyond the Lights (2014)
			Global Film Culture in the Age of Streaming
		Film Preservation and Archives
			Film in Focus: Rediscovering Within Our Gates (1920)
			Orphan Films
		Concepts at Work
Part 2: Formal Compositions: film scenes, shots, cuts, and sounds
	Chapter 3: Mise-en-Scène: Exploring a Material World
		A Short History of Mise-en-Scène
			Theatrical Mise-en-Scène and the Prehistory of Cinema
			1900–1912: Early Cinema’s Theatrical Influences
			1915–1928: Silent Cinema and the Star System
			1930s–1960s: Studio-Era Production
			1940–1970: New Cinematic Realism
			1975–Present: Mise-en-Scène and the Blockbuster
		The Elements of Mise-en-Scène
			Settings and Sets
				Viewing Cue: Life of Pi (2012)
			Scenic Realism and Atmosphere
			Props, Costumes, and Lights
				Viewing Cue: Boyhood (2014)
			Performance: Actors and Stars
				Film in Focus: Mise-en-Scène in Do the Right Thing (1989)
			Space and Design
		Making Sense of Mise-en-Scène
			Form in Action: Mise-en-Scène in Hugo (2011)
			Defining Our Place in a Film’s Material World
			Interpretive Contexts for Mise-en-Scène
				Film in Focus: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)
		Concepts at Work
	Chapter 4: Cinematography: Framing What We See
		A Short History of the Cinematic Image
			1820s–1880s: The Invention of Photography and the Prehistory of Cinema
			1890s–1920s: The Emergence and Refinement of Cinematography
			1930s–1940s: Developments in Color, Wide-Angle, and Small-Gauge Cinematography
			1950s–1960s: Widescreen, 3-D, and New Color Processes
			1970s–1980s: Cinematography and Exhibition in the Age of the Blockbuster
			1990s to the Present: The Digital Era
		The Elements of Cinematography
			Points of View
			Four Attributes of the Shot
				Viewing Cue: Touch of Evil (1958)
				Form in Action: Color and Contrast in Film
				Viewing Cue: Rear Window (1954)
			Animation and Special Effects
				Viewing Cue: The Battle of Algiers (1967)
				History Close Up: Floyd Norman
		Making Sense of the Film Image
			Defining Our Relationship to the Cinematic Image
			Interpretive Contexts for the Cinematic Image
				Viewing Cue: Vertigo (1958)
				Film in Focus: From Angles to Animation in Vertigo (1958)
		Concepts at Work
	Chapter 5: Editing: Relating Images
		A Short History of Film Editing
			1895–1918: Early Cinema and the Emergence of Editing
			1919–1929: Soviet Montage
				History Close Up: Women in the Editing Room
			1930–1959: Continuity Editing in the Hollywood Studio Era
			1960–1989: Modern Editing Styles
			1990s–Present: Editing in the Digital Age
		The Elements of Editing
			Viewing Cue: Chinatown (1974)
			The Cut and Other Transitions
			Continuity Style
				Viewing Cue: Tangerine (2015)
			Editing and Temporality
				Viewing Cue: The General (1927)
				Form in Action: Editing and Rhythm in Moulin Rouge! (2001)
		Making Sense of Film Editing
			Film in Focus: Patterns of Editing in Bonnie and Clyde (1967)
			Disjunctive Editing
			Converging Editing Styles
		Concepts at Work
	Chapter 6: Film Sound: Listening to the Cinema
		A Short History of Film Sound
			Prehistories of Film Sound
			1895–1920s: The Sounds of Silent Cinema
			1927–1930: Transition to Synchronized Sound
			1930s–1940s: Challenges and Innovations in Cinema Sound
			1950s–1980s: From Stereophonic to Dolby Sound
			1990s–Present: Sound in the Digital Era
		The Elements of Film Sound
			Sound and Image
				Viewing Cue: Guardians of the Galaxy (2014)
			Sound Production
				Film in Focus: Sound and Image in Singin’ in the Rain (1952)
			Voice in Film
			Music in Film
				Form in Action: Popular Music in Film
			Sound Effects in Film
				Viewing Cue: The Thin Red Line (1998)
		Making Sense of Film Sound
			Authenticity and Experience
				Viewing Cue: Winter’s Bone (2010)
			Sound Continuity and Sound Montage
			Film in Focus: The Role of Sound and Sound Technology in The Conversation (1974)
		Concepts at Work
Part 3: Organizational Structures: from stories to genres
	Chapter 7: Narrative Films: Telling Stories
		A Short History of Narrative Film
			1900–1920s: Adaptations, Scriptwriters, and Screenplays
			1927–1950: Sound Technology, Dialogue, and Classical Hollywood Narrative
			1950–1980: Art Cinema
			1980s–Present: From Narrative Reflexivity to Games
				History Close Up: Salt of the Earth
		The Elements of Narrative Film
			Stories and Plots
			Characters
			Diegetic and Nondiegetic Elements
			Narrative Patterns of Time
				Form in Action: Nondiegetic Images and Narrative
				Viewing Cue: Shutter Island (2010)
			Narrative Space
				Viewing Cue: The Royal Tenenbaums (2001)
			Narrative Perspectives
			Film in Focus: Narration and Gender in Gone Girl (2014)
		Making Sense of Film Narrative
			Shaping Memory, Making History
			Narrative Traditions
				Viewing Cue: Midnight Cowboy (1969)
				Film in Focus: Classical and Alternative Traditions in Mildred Pierce (1945) and Daughters of the Dust (1991)
		Concepts at Work
	Chapter 8: Documentary Films: Representing the Real
		A Short History of Documentary Cinema
			A Prehistory of Documentaries
			1895–1905: Early Actualities, Scenics, and Topicals
			The 1920s: Robert Flaherty and the Soviet Documentaries
			1930–1945: The Politics and Propaganda of Documentary
			1950s–1970s: New Technologies and the Arrival of Television
			1980s–Present: Digital Cinema, Cable, and Reality TV
		The Elements of Documentary Films
			Nonfiction and Non-Narrative
			Expositions: Organizations That Show or Describe
				Film in Focus: Nonfiction and Non-Narrative in Man of Aran (1934)
				Viewing Cue: The Cove (2009)
			Rhetorical Positions
				Viewing Cue: He Named Me Malala (2015)
		Making Sense of Documentary Films
			Revealing New or Ignored Realities
			Confronting Assumptions, Altering Opinions
			Serving as a Social, Cultural, and Personal Lens
				History Close Up: Indigenous Media
				Form in Action: The Contemporary Documentary: What Happened, Miss Simone? (2015)
		Concepts at Work
	Chapter 9: Experimental Film and New Media: Challenging Form
		A Short History of Experimental Film and Media Practices
			1910s–1920s: European Avant-Garde Movements
			1930s–1940s: Sound and Vision
			1950s–1960s: The Postwar Avant-Garde in America
				Film in Focus: Avant-Garde Visions in Meshes of the Afternoon (1943)
			1968–1980: Politics and Experimental Cinema
			1980s–Present: New Technologies and New Media
		Formalist Strategies
			Abstraction
			Narrative Experimentation
			Experimental Organizations: Associative, Structural, and Participatory
				Film in Focus: Formal Play in Ballet mécanique (1924)
		Making Sense of Experimental Media
			Challenging and Expanding Perception
			Experimental Film Styles and Approaches
				Viewing Cue: Gently Down the Stream (1981)
				Form in Action: Lyrical Style in Bridges-Go-Round (1958)
				Viewing Cue: The Future (2011)
		Concepts at Work
	Chapter 10: Movie Genres: Conventions, Formulas, and Audience Expectations
		A Short History of Film Genre
			Historical Origins of Genres
			Early Film Genres
			1920s–1940s: Genre and the Studio System
			1948–1970s: Postwar Film Genres
			1970s–Present: New Hollywood, Sequels, and Global Genres
		The Elements of Film Genre
			Conventions
			Formulas and Myths
			Audience Expectations
		Six Movie Genres
			Comedies
			Westerns
			Melodramas
			Musicals
				Viewing Cue: La La Land (2016)
			Horror Films
			Crime Films
				Viewing Cue: The Searchers (1956)
		Making Sense of Film Genres
			Prescriptive and Descriptive Approaches
				Film in Focus: Crime Film Conventions and Formulas: Chinatown (1974)
			Classical and Revisionist Traditions
				Viewing Cue: Unforgiven (1992)
				History Close Up: John Waters and Midnight Movies
				Form in Action: Melodrama and In the Mood for Love (2000)
			Local and Global Genres
		Concepts at Work
Part 4: Critical Perspectives: reading and writing about film
	Chapter 11: Reading about Film: Critical Theories and Methods
		The Evolution of Film Theory
		Early and Classical Film Theory
			Early Film Theory
			Classical Film Theories: Formalism and Realism
				Viewing Cue: M (1931)
		Postwar Film Culture and Criticism
			Film Journals
			Auteur Theory
			Genre Theory
		Contemporary Film Theory
			Structuralism and Semiotics
				Viewing Cue: The Wizard of Oz (1939)
			Poststructuralism
			Theories of Gender and Sexuality
			Cultural Studies
			Film and Philosophy
				Film in Focus: Clueless about Contemporary Film Theory? (1995)
			Postmodernism and New Media
		Concepts at Work
	Chapter 12: Writing a Film Essay: Observations, Arguments, Research, and Analysis
		Writing an Analytical Film Essay
			Personal Opinion and Objectivity
				Viewing Cue: Birdman (2014)
			Identifying Your Readers
			Elements of the Analytical Film Essay
		Preparing to Write about a Film
			Asking Questions
			Taking Notes
			Selecting a Topic
				Film in Focus: Analysis, Audience, and Minority Report (2002)
		Elements of a Film Essay
			Thesis Statement
			Outline and Topic Sentences
			Revising, Formatting, and Proofreading
			Writer’s Checklist
		Researching the Movies
			Distinguishing Research Materials
				Film in Focus: Interpretation, Argument, and Evidence in Rashomon (1950)
			Using and Documenting Sources
				Form in Action: Creating a Video Essay
				Film in Focus: From Research to Writing about The Cabinet of Dr. Caligari (1920)
		Concepts at Work
Back Matter
	Glossary
	Index
	The Next Level: Additional Sources
	Inside Back Cover
	Back Cover