A History Of Narrative Film e-Book Download
Download A History Of Narrative Film Book Full Content or read online. Available in PDF, tuebl, mobi, ePub and Kindle. Click Get Book and find your favorite books in the online databases. Register to access unlimited books for 7 day trial, fast download and ads free! Find A History Of Narrative Film book is in the library. READ as many books as you like (Personal use).
- Author : David A. Cook
- Publisher : R.S. Means Company
- Release Date : 1996
- Genre : Motion pictures
- Pages : 189
- ISBN : 0393969398
Sophisticated in its analytical content, current in its coverage, and informed throughout by fascinating historical and cultural contexts, A History of Narrative Film is one of the most respected and widely read texts in film studies. This Fifth Edition features a new chapter on twenty-first century film, and includes refreshed coverage of contemporary digital production, distribution, and consumption of film. Now 20% shorter, with new four-color design and an updated art program, A History of Narrative Film is also the only film history text available as an ebook.
Some of the films discussed in this book include: Five Easy Pieces Chinatown Carnal Knowledge Straw Dogs A Clockwork Orange Mean Streets The Conversation Nashville Shampoo Taxi Driver Apocalypse Now
The Musicality of Narrative Film is the first book to examine in depth the film/music analogy. Using comparative analysis, Kulezic-Wilson explores film's musical potential, arguing that film's musicality can be achieved through various cinematic devices, with or without music.
"Through detailed examinations of passages from classic films, Marilyn Fabe supplies the analytic tools and background in film history and theory to enable us to see more in every film we watch"--Page  of cover.
Hyper narrative interactive cinema refers to the possibility for users or “interactors” to shift at different points in an evolving film narrative to other film narrative trajectories. Such works have resulted so far in interactor distraction rather than sustained engagement. Contrary to post-modern textual and cognitive presumptions, film immersion and computer game theories, this study uses dual coding theory, cognitive load theory, and constructivist narrative film theory to claim that interactive hyper-narrative distraction results from cognitive and behavioral multi-tasking, which lead to split attention problems that cannot be cognitively handled. Focus is upon split attention resulting from the non-critical use of de-centered and non-cohering hyper-narrative and audio-visual formations, and from interaction. For hyper-narrative interactive cinema to sustain deep engagement, multi-tasking split attention problems inhering in such computer-based works have to be managed, and – most importantly - made to enhance rather than reduce engagement. This book outlines some viable solutions to construct deep cognitive-emotional engagement of interactors with hyper-narrative interactive cinema.
This book explores the relationship among gender, desire, and narrative in 1940s woman’s films which negotiate the terrain between public history and private experience. The woman’s film and other form of cinematic melodrama have often been understood as positioning themselves outside history, and this book challenges and modifies that understanding, contextualizing the films it considers against the backdrop of World War II. In addition, in paying tribute to and departing from earlier feminist formulations about gendered spectatorship in cinema, McKee argues that such models emphasized a masculine-centered gaze at the inadvertent expense of understanding other possible modes of identification and gender expression in classical narrative cinema. She proposes ways of understanding gender and narrative based in part on literary narrative theory and ultimately works toward a notion of an androgynous spectatorship and mode of interpretation in the 1940s woman’s film.
- Author : Tom Gunning
- Publisher : University of Illinois Press
- Release Date : 1994
- Genre : Performing Arts
- Pages : 316
- ISBN : 025206366X
This book demonstrates how government bureaucracy is portrayed in the top ten box office grossing films from 2000–2015. Perhaps unsurprisingly, government is generally portrayed poorly, but individual government bureaucrats are typically depicted positively.
Blurred Boundaries explores decisive moments when the traditional boundaries of fiction/nonfiction, truth and falsehood blur. Nichols argues that a history of social representation in film, television and video requires an understanding of the fate of both contemporary and older work. Traditionally, film history and cultural studies sought to place films in a historical context. Nichols proposes a new goal: to examine how specific works, old and new, promote or suppress a sense of historical consciousness. Examining work from Eisenstein's Strike to the Rodney King videotape, Nichols interrelates issues of formal structure, viewer response and historical consciousness. Simultaneously, Blurred Boundaries radically alters the interpretive frameworks offered by neo-formalism and psychoanalysis: Comprehension itself becomes a social act of transformative understanding rather than an abstract mental process while the use of psychoanalytic terms like desire, lack, or paranoia to make social points metaphorically yields to a vocabulary designed expressly for historical interpretation such as project, intentionality and the social imaginary. An important departure from prevailing trends in many fields, Blurred Boundaries offers new directions for the study of visual culture.
"Combines an array of critical methodologies to come to terms with a culturally persuasive but vastly undervalued media form.The scholarship is quite extraordinary. . . . It is the author's working knowledge of the circumstances under which television soap opera is actually written and produced that makes her theoretical arguments so convincing. She does a fine job of interfusing philosophy with praxis."—David A. Cook, author of History of Narrative Film "The scholarship is quite extraordinary. . . . It deals with . . . its subject with both elegance and passion. . . . It illuminates a great deal about the way in which television soap opera is both produced and consumed . . . could be used quite handily as a text . . . in the same way Tania Modeleski's The Women Who Knew Too Much is used."—David Cook, Emory University
A collection of 13 essays from a fall 1994 conference in Kent, Ohio. They cover the ideological, the mnemonic, the parodic, and the media; issues of cross-cultural identity and national cinemas; postmodernism and tourism, (post)history, and colonization; and auteurial presences. Specific topics include Aladdin as a postmodern text, de- authorizing the auteur, imaginary geographies in contemporary French cinema, and the dual paternity of Querelle. No subject index. Annotation copyrighted by Book News, Inc., Portland, OR
A History of Three-Dimensional Cinema chronicles 3-D cinema as a single, continuous and coherent medium, proceeding from 19th-century experiments in stereoscopic photography and lantern projection (1839–1892) to stereoscopic cinema’s “long novelty period” (1893–1952). It proceeds to examine the first Hollywood boom in anaglyphic stereo (1953–1955), when the mainstream industry produced 69 features in 3-D, mostly action films that could exploit the depth illusion, but also a handful of big-budget films—for example, Kiss Me Kate (George Sidney, 1953) and Dial M for Murder (Alfred Hitchcock, 1954)—until audiences tired of the process; the anaglyphic revival of 1970–1985, when 3-D was sustained as a novelty feature in sensational genres like soft-core pornography and horror; the age of IMAX 3-D (1986–2008); the current era of digital 3-D cinema, which began in 2009 when James Cameron’s Avatar became the highest-grossing feature of all time and the studios once again stampeded into 3-D production; and finally the future promise of Virtual Reality.
An Introduction to Film Analysis is designed to introduce students to filmmaking techniques while also providing an invaluable guide to film interpretation. It takes readers step by step through: -the basic technical terms -shot-by-shot analyses of film sequences -set design, composition, editing, camera work, post-production, art direction and more -each chapter provides clear examples and full colour images from classic as well as contemporary films Ryan and Lenos's updated edition introduces students to the different kinds of lenses and their effects, the multiple possibilities of lighting, and the way post-production modifies images through such processes as saturation and desaturation. Students will learn to ask why the camera is placed where it is, why an edit occurs where it does, or why the set is designed in a certain way. The second section of the book focuses on critical analysis, introducing students to the various approaches to film, from psychology to history, with new analysis on postcolonial, transnational and Affect Theory. New to this edition is a third section featuring several in-depth analyses of films to put into practice what comes before: The Birds, The Shining, Vagabond, In the Mood for Love, Before the Devil Knows You're Dead.
This book provides a comprehensive and lively introduction to the major trends in film scoring from the silent era to the present day, focussing not only on dominant Hollywood practices but also offering an international perspective by including case studies of the national cinemas of the UK, France, India, Italy, Japan and the early Soviet Union. The book balances wide-ranging overviews of film genres, modes of production and critical reception with detailed non-technical descriptions of the interaction between image track and soundtrack in representative individual films. In addition to the central focus on narrative cinema, separate sections are also devoted to music in documentary and animated films, film musicals and the uses of popular and classical music in the cinema. The author analyses the varying technological and aesthetic issues that have shaped the history of film music, and concludes with an account of the modern film composer's working practices.
- Author : Wikipedia contributors
- Publisher : e-artnow sro
- Release Date :
- Genre : Uncategorized
- Pages : 231
- ISBN : 9876543210XXX
From the post-apocalyptic world of Blade Runner to the James Cameron mega-hit Terminator, tech-noir has emerged as a distinct genre, with roots in both the Promethean myth and the earlier popular traditions of gothic, detective, and science fiction. In this new volume, many well-known film and literary works – including The Matrix, RoboCop, and Mary Shelley’s Frankenstein –are discussed with reference to their relationship to tech-noir and one another. Featuring an extensive, clearly indexed filmography, Tech-Noir Film will be of great interest to anyone wishing to learn more about the development of this new and highly innovative genre.