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Authors: David Bordwell,Kristin Thompson

B0041VYHGW EBOK

BOOK: B0041VYHGW EBOK
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FILM ART AN INTRODUCTION

NINTH EDITION

 

David Bordwell

Kristin Thompson

University of Wisconsin

 

 

 

Film Art: An Introduction

Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2010 by Hamilton Gregory. All rights reserved. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning.

1 2 3 4 5 6 7 8 9 0 DOW/DOW 0 9

ISBN: 978-0-07-338616-4
MHID: 0-0-7338616-2

Vice President, Editorial:
Michael J. Ryan
Director, Editorial:
William R. Glass
Publisher:
Christopher Freitag
Director of Development:
Nancy Crochiere
Associate Sponsoring Editor:
Betty Chen
Editorial Coordinator:
Sarah Remington
Executive Marketing Manager:
Pamela Cooper
Development Editor:
Nadia Bidwell, Barking Dog Editorial
Senior Production Editor:
Mel Valentín
Manuscript Editor:
Thomas Briggs
Design Manager:
Laurie Entringer
Cover and Interior Design:
Jesi Lazar, BrainWorx Studio
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Senior Production Supervisor:
Tandra Jorgensen
Composition:
10.5/12 Times by Thompson Type
Printing:
45# Pub Matte, R. R. Donnelley & Sons

Cover Image: DreamWorks/Paramount/The Kobal Collection/Conner, Frank

Credits: The credits section for this book begins on
page 496
and is considered an extension of the copyright page.

Library of Congress Cataloging-in-Publication Data
Bordwell, David.
  Film art : an introduction / David Bordwell, Kristin Thompson.
      p. cm.
  Includes bibliographical references and index.
  ISBN-13: 978-0-07-338616-4 (alk. paper)
  ISBN-10: 0-07-338616-2 (alk. paper)
  1. Motion pictures—Aesthetics. I. Thompson, Kristin, 1950– II. Title.
PN1995.B617 2009
791.4301—dc22

2009042923

The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a Web site does not indicate an endorsement by the authors or McGraw-Hill, and McGraw-Hill does not guarantee the accuracy of the information presented at these sites.

www.mhhe.com

To our parents

Marjorie and Jay Bordwell

and Jean and Roger Thompson

ABOUT THE AUTHORS
 

David Bordwell
is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin–Madison. He holds a master’s degree and a doctorate in film from the University of Iowa. His books include
The Films of Carl-Theodor Dreyer
(University of California Press, 1981),
Narration in the Fiction Film
(University of Wisconsin Press, 1985),
Ozu and the Poetics of Cinema
(Princeton University Press, 1988),
Making Meaning: Inference and Rhetoric in the Interpretation of Cinema
(Harvard University Press, 1989),
The Cinema of Eisenstein
(Harvard University Press, 1993),
On the History of Film Style
(Harvard University Press, 1997),
Planet Hong Kong: Popular Cinema and the Art of Entertainment
(Harvard University Press, 2000),
Figures Traced in Light: On Cinematic Staging
(University of California Press, 2005),
The Way Hollywood Tells It: Story and Style in Modern Movies
(University of California Press, 2006), and
Poetics of Cinema
(Routledge, 2008). He has won a University Distinguished Teaching Award and was awarded an honorary degree by the University of Copenhagen. His website is
www.davidbordwell.net
.

Kristin Thompson
is an Honorary Fellow at the University of Wisconsin–Madison. She holds a master’s degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin–Madison. She has published
Eisenstein’s Ivan the Terrible: A Neoformalist Analysis
(Princeton University Press, 1981),
Exporting Entertainment: America in the World Film Market 1907–1934
(British Film Institute, 1985),
Breaking the Glass Armor: Neoformalist Film Analysis
(Princeton University Press, 1988),
Wooster Proposes, Jeeves Disposes, or, Le Mot Juste
(James H. Heineman, 1992),
Storytelling in the New Hollywood: Understanding Classical Narrative Technique
(Harvard University Press, 1999),
Storytelling in Film and Television
(Harvard University Press, 2003),
Herr Lubitsch Goes To Holly wood: German and American Film After World War I
(Amsterdam University Press, 2005), and
The Frodo Franchise: The Lord of the Rings and Modern Hollywood
(University of California Press, 2007). She blogs with David at
www.davidbordwell.net/blog
. She maintains her own blog, “The Frodo Franchise,” at
www.kristinthompson.net/blog
. In her spare time, she studies Egyptology.

The authors have also collaborated on
Film History: An Introduction
(McGraw-Hill, 3rd. ed., 2010) and, with Janet Staiger, on
The Classical Hollywood Cinema: Film Style and Mode of Production to 1960
(Columbia University Press, 1985).

BRIEF CONTENTS
 

Preface

PART ONE • Film Art and Filmmaking

 

1
Film as Art: Creativity, Technology, and Business

PART TWO • Film Form

 

2
The Significance of Film Form

3
Narrative as a Formal System

PART THREE • Film Style

 

4
The Shot: Mise-en-Scene

5
The Shot: Cinematography

6
The Relation of Shot to Shot: Editing

7
Sound in the Cinema

8
Summary: Style as a Formal System

PART FOUR • Types of Films

 

9
Film Genres

10
Documentary, Experimental, and Animated Films

PART FIVE • Critical Analysis of Films

 

11
Film Criticism: Sample Analyses

Appendix

PART SIX • Film History

 

12
Film Art and Film History

Glossary

Credits

Recommended DVD Supplements

Index

CONTENTS
 

Preface

PART ONE • Film Art and Filmmaking

 

CHAPTER 1
Film as Art: Creativity, Technology, and Business

 

Artistic Decisions in Filmmaking

To See into the Night: Artistic Decisions in the Making of
Collateral

Mechanics of the Movies

Illusion Machines

Machines That Use Film

Machines That Use Digital Media

Making the Movie: Film Production

The Scriptwriting and Funding Phase

The Preparation Phase

The Shooting Phase

The Assembly Phase

A CLOSER LOOK:
Some Terms and Roles In Film Production

Artistic Implications of the Production Process

Modes of Production

Large-Scale Production

Exploitation, Independent Production, and DIY

Small-Scale Production

Artistic Implications of Different Modes of Production

Bringing the Film to the Audience: Distribution and Exhibition

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