The Film Experience: An Introduction

About this Book
	Cover Page
	Inside Front Cover
	Title Page
	Copyright Page
	Dedication
	About the Authors
	Preface
	Brief Contents
	Contents
	Halftitle Page
Part 1 Cultural Contexts: Watching, Studying, and Making Movies
	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
			Film in Focus: Distributing Killer of Sheep (1977)
			Generating Interest
			Advertising
			Technology in Action: The Changing Technologies of Film Promotion
			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)
		Chapter 1 Review
			Summary
			Key Terms
	Chapter 2 History and Historiography: Hollywood and Beyond
		Silent Cinema (1895–1929)
			Silent Features in Hollywood
			German Expressionist Cinema
			Soviet Silent Films
			French Cinema
			History Close Up: Oscar Micheaux
		Classical Cinema (1929–1945)
			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)
			Film in Focus: Mother India and Postwar History (1957)
		Cinematic Globalization (1975–2000)
			New Hollywood in the Blockbuster Era
			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)
			Film Culture in the Twenty-First Century
			Technology in Action: Film Preservation and Archives
			Film in Focus: Rediscovering Within Our Gates (1920)
		Chapter 2 Review
			Summary
			Key Terms
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
			Scenic Realism and Atmosphere
			Viewing Cue: Life of Pi (2012)
			Props, Costumes, and Lights
			Viewing Cue: Boyhood (2014)
			Performance: Actors and Stars
			Film in Focus: Mise-en-Scène in Do the Right Thing (1989)
			Technology in Action: Scenic Lighting
			Space and Design
		Thinking about Mise-en-Scène
			Mise-en-Scène as an External Condition or a Measure of Character
			Primary Traditions for Mise-en-Scène
			Film in Focus: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)
		Chapter 3 Review
			Summary
			Key Terms
	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
			Point of View
			Four Attributes of the Shot
			Viewing Cue: Touch of Evil (1958)
			Depth of Field
			Technology in Action: Color in Film
			Viewing Cue: Roma (2018)
			Viewing Cue: Fish Tank (2009)
			Viewing Cue: Barry Lyndon (1975)
			From Special Effects to Visual Effects
		Thinking about Cinematography
			The Image as Presentation and Representation
			Viewing Cue: Vertigo (1958)
			Traditions of Images
			Film in Focus: Recreating History in Once Upon a Time … in Hollywood (2019)
		Chapter 4 Review
			Summary
			Key Terms
	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
			The Cut and Other Transitions
			Viewing Cue: Chinatown (1974)
			Continuity Style
			Viewing Cue: Tangerine (2015)
			Editing and Temporality
			Viewing Cue: The General (1927)
			Technology in Action: Editing, Then and Now
		Thinking about Film Editing
			Film in Focus: Patterns of Editing in Bonnie and Clyde (1967)
			Editing as a Subjective Experience or as an Objective Perspective
			Primary Traditions in Editing Practices: Continuity, Disjunctions, and Convergences
			Converging Editing Styles
		Chapter 5 Review
			Summary
			Key Terms
	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
			Technology in Action: Sound and Image
			Viewing Cue: Guardians of the Galaxy (2014)
			Film in Focus: Sound and Image in Singin’ in the Rain (1952)
			Sound Production
			Voice in Film
			Music in Film
			Sound Effects in Film
			Viewing Cue: The Thin Red Line (1998)
		Thinking about Film Sound
			Sound Continuity and Sound Montage
			Viewing Cue: Winter’s Bone (2010)
			Authenticity and Attention
			Film in Focus: The Sound of Silence in A Quiet Place (2018)
		Chapter 6 Review
			Summary
			Key Terms
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: The Coming of Sound and Classical Hollywood Narrative
			1950–1980: Art Cinema
			1980s–Present: Franchises, Narrative Reflexivity, and Games
			History Close Up: Salt of the Earth (1954)
		The Elements of Narrative Film
			Stories and Plots
			Characters
			Diegetic and Nondiegetic Elements
			Narrative Patterns of Time
			Viewing Cue: Shutter Island (2010)
			Narrative Space
			Narrative Perspectives
			Viewing Cue: The Royal Tenenbaums (2001)
			Technology in Action: Immersive Film Narrative
			Film in Focus: Narration and Gender in Gone Girl (2014)
		Thinking about 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)
		Chapter 7 Review
			Summary
			Key Terms
	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
			Viewing Cue: The Cove (2009)
			Film in Focus: Nonfiction and Non-Narrative in Stories We Tell (2013)
			Rhetorical Positions
			Viewing Cue: He Named Me Malala (2015)
		Thinking about Documentary Films
			Confronting Assumptions
			Altering Opinions
			Interpretive Contexts and Traditions
			History Close Up: Indigenous Media
			Technology in Action: Documentary Sound
		Chapter 8 Review
			Summary
			Key Terms
	Chapter 9 Animation and Experimental Media: Challenging Form
		A Short History of Animation and Experimental Media
			1910s–1920s: Early Avant-Garde Movements
			1930s–1940s: Sound and Vision
			Film in Focus: Avant-Garde Visions in Meshes in the Afternoon (1943)
			1950s–1960s: International Animation and the Postwar American Avant-Garde
			History Close Up: Floyd Norman
			1968–1980: Beyond North America
			1989–Present: New Technologies and New Media
		Principles of Experimental Media and Animation
			Abstraction and Figuration
			Experimental Organizations: Associative, Structural, and Participatory
			Animation Modes: 2-D, 3-D, Stop-Motion
			Technology in Action: Animation through the Decades
		Thinking about Experimental Media and Animation
			Expanding Perception
			Experimental Film Styles and Approaches
			Viewing Cue: Gently Down the Stream (1981)
			Viewing Cue: The Future (2011)
			Film in Focus: Webs of Style in Spider-Man: Into the Spider-Verse (2018)
		Chapter 9 Review
			Summary
			Key Terms
	Chapter 10 Movie Genres: Conventions, Formulas, and Audience Expectations
		A Short History of Film Genre
			Historical Origins of Genres
			1890s–1910s: 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
			Technology in Action: Special Effects and Iconography in Science Fiction
			Formulas and Myths
			Audience Expectations
		Six Movie Genres
			Comedies
			Westerns
			Melodramas
			Viewing Cue: The Searchers (1956)
			Musicals
			Viewing Cue: La La Land (2016)
			Horror Films
			Film in Focus: Genre and Gender in Jennifer’s Body (2009)
			Crime Films
		Thinking about Film Genre
			Prescriptive and Descriptive Approaches
			Classical and Revisionist Traditions
			Viewing Cue: Unforgiven (1992)
			History Close Up: John Waters and Midnight Movies
			Local and Global Genres
		Chapter 10 Review
			Summary
			Key Terms
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
		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 in Focus: Clueless about Contemporary Film Theory? (1995)
			Film and Philosophy
			Postmodernism
			Film Theory and Digital Culture
		Chapter 11 Review
			Summary
			Key Terms
	Chapter 12 Writing a Film Essay: Observations, Arguments, Research, and Analysis
		Writing an Analytical Film Essay
			Personal Opinion and Objectivity
			Identifying Your Readers
			Viewing Cue: Birdman (2014)
			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
			Primary Research
			Secondary Research
			Film in Focus: Interpretation, Argument, and Evidence in Rashomon (1950)
			Using and Documenting Sources
			Technology in Action: Creating a Video Essay
			Film in Focus: From Research to Writing about The Cabinet of Dr. Caligari (1920)
		Chapter 12 Review
			Summary
			Key Terms
Glossary
Index
The Next Level: Additional Sources
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Inside Back Cover
Back Cover