"This book is aimed at students of film studies and general readers interested in a comprehensive introduction to the field. It addresses techniques and terminology used in film production and film criticism, emphasizing thinking and writing critically and effectively about film. Organized in three parts, the text focuses on the fundamentals of film analysis before moving on to more complex topics." "Part III introduces readers to interpretive frameworks that treat cinema as a cultural institution. This section encourages readers to move beyond textual analysis and consider the relationship between film and culture. Readers learn to form sophisticated arguments about film in cultural, historical, and economic contexts."--BOOK JACKET.
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Film: A Critical Introduction provides readers with the skills needed to successfully critique and analyze film and teaches strategies for translating ideas about film into written criticism and analysis. Intricate discussions of the current issues in film theory, from sound production to documentaries, keep readers' perspectives on film fresh and informed. Part I introduces readers to the importance of film analysis, offering helpful strategies for discerning the way films produce meaning. Part II examines the fundamental elements of film, including narrative form, mise en scène, cinematography, editing, and sound, and shows how these concepts can be used to interpret films. Part III frames the debates around ideological criticism, national and transnational cinema, and genre and auteur theory that animate contemporary film scholarship.
Film: A Critical Introduction, 2e, provides a comprehensive framework for studying films, with an emphasis on writing as a means of exploring film's aesthetic and cultural significance. This book's consistent and comprehensive focus on writing allows the reader to master film vocabulary and concepts while learning to formulate rich interpretations. Part I introduces the reader to the importance of film analysis, offering helpful strategies for discerning the way films produce meaning. Part II examines the fundamental elements of film, including narrative form, mise en scène, cinematography, editing, and sound, and shows how these concepts can be used to interpret films. Part III moves beyond textual analysis to explore film as a cultural institution and introduce the reader to essential areas of film studies research.
What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family, and experiments in sexual development and identity formation. But not every film featuring these components is a teen film and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, Teen Film presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including The Wild One, Heathers, Akira and Donnie Darko, the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence.
Fantasy Film proposes an innovative approach to the study of this most popular cinematic genre. Engaging with the diversity of tones, forms and styles that fantasy can take in the cinema, the book examines the value and significance of fantasy across a wide range of key films. This volume extends critical understanding beyond the often narrowly defined boundaries of what is seen as "fantasy". Fantasy Film uses key concepts in film studies - such as authorship, representation, history,genre, coherence and point of view - to interrogate the fantasy genre and establish its parameters. A wide range of films are held up to close scrutiny to illustrate the discussion. Moving from Alfred Hitchcock's dark thrillers to Vincente Minnelli's vibrant musicals, from George Méliès' 1904 Voyage à travers l'impossible to the X-Men series, the creative dexterity and excitement of film fantasy is evoked and explored. The book will be invaluable to students and fans of the fantasy genre.
Updated and expanded, this new edition is the perfect starter text for students of film studies. The book illustrates basic film concepts in context and in depth. It addresses techniques and terminology used in film production and criticism, emphasizing thinking and writing critically and effectively. With reference to 460 new and existing images, the authors discuss contemporary films and film studies scholarship, as well as recent developments in film production and exhibition, such as digital technologies and new modes of screen media.
European Film Theory and Cinema explores the major film theories and movements within European cinema since the early 1900s. An original and critically astute study, it considers film theory within the context of the intellectual climate of the last two centuries. Ian Aitkin focuses particularly on the two major traditions that dominate European film theory and cinema: the "intuitionist modernist and realist" tradition and the "post-Saussurian" tradition. The first originates in a philosophical lineage that encompasses German idealist philosophy, romanticism, phenomenology, and the Frankfurt School. Early intuitionist modernist film culture and later theories and practices of cinematic realism are shown to be part of one continuous tradition. The post-Saussurian tradition includes semiotics, structuralism, and post-structuralism.
Throughout the history of cinema, horror has proven to be a genre of consistent popularity, which adapts to different cultural contexts while retaining a recognizable core. Horror Film: A Critical Introduction, the newest in Bloomsbury's Film Genre series, balances the discussions of horror's history, theory, and aesthetics as no introductory book ever has. Featuring studies of films both obscure and famous, Horror Film is international in its scope and chronicles horror from its silent roots until today. As a straightforward and convenient critical introduction to the history and key academic approaches, this book is accessible to the beginner but still of interest to the expert.
Science Fiction Film develops a historical and cultural approach to the genre that moves beyond close readings of iconography and formal conventions. It explores how this increasingly influential genre has been constructed from disparate elements into a hybrid genre. Science Fiction Film goes beyond a textual exploration of these films to place them within a larger network of influences that includes studio politics and promotional discourses. The book also challenges the perceived limits of the genre - it includes a wide range of films, from canonical SF, such as Le voyage dans la lune, Star Wars and Blade Runner, to films that stretch and reshape the definition of the genre. This expansion of generic focus offers an innovative approach for students and fans of science fiction alike.
World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examples—theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures—into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.
Although precise definitions have not been agreed on, historical cinema tends to cut across existing genre categories and establishes an intimidatingly large group of films. In recent years, a lively body of work has developed around historical cinema, much of it proposing valuable new ways to consider the relationship between cinematic and historical representation. However, only a small proportion of this writing has paid attention to the issue of genre. In order to counter this omission, this book combines a critical analysis of the Hollywood historical film with an examination of its generic dimensions and a history of its development since the silent period. Historical Film: A Critical Introduction is concerned not simply with the formal properties of the films at hand, but also the ways in which they have been promoted, interpreted and discussed in relation to their engagement with the past.
Steampunk Film: A Critical Introduction is a concise and accessible overview of steampunk's indelible impact within film, and acts as a case study for examining the ways with which genres hybridize and coalesce into new forms. Since the beginning of the 21st century, a series of high-profile and big-budget films have adopted steampunk identities to re-imagine periods of industrial development into fantastical histories where future meets past. By calling this growing mass-cultural fetishism for anachronistic machines into question, this book examines how a retro-futuristic romanticism for technology powered by cogs, pistons and steam-engines has taken center stage in blockbuster cinema. As the first monograph to consider cinema's unique relationship with steampunk, it places this burgeoning genre in the context of ongoing debates within film theory: each of which reflecting the movement's remarkable interest in reengineering historical technologies. Rather than acting as a niche subculture, Robbie McAllister argues that steampunk's proliferation in mainstream filmmaking reflects a desire to reassess contemporary relationships with technology and navigate the intense changes that the medium itself is experiencing in the 21st century.
Bruzzi relates contemporary cinema to the documentary tradition, exploring questions of authorship, spectatorship and 'truth' in the context of issues of race, gender and performance.
What is film noir? With its archetypal femme fatale and private eye, its darkly-lit scenes and even darker narratives, the answer can seem obvious enough. But as Ian Brookes shows in this new study, the answer is a lot more complex than that. This book is designed to tackle those complexities in a critical introduction that takes into account the problems of straightforward definition and classification. Students will benefit from an accessible introductory text that is not just an account of what film noir is, but also an interrogation of the ways in which the term came to be applied to a disparate group of American films of the 1940s and 1950s.
This book studies literary and cinematic representations of the Partition of India. It discusses Partition as not just an immediate historical catastrophe but as a lingering cultural presence and consequently a potent trope in literary and visual representations. The volume features essays on key texts – written and visual – including Train to Pakistan, "Toba Tek Singh", Basti, Garm Hava, Pinjar, among others. Partition Literature and Cinema will be indispensable introductory reading for students and researchers of modern Indian history, Partition studies, literature, film studies, media and cultural studies, popular culture and performance, postcolonial studies, and South Asian studies. It will also be of interest to enthusiasts of Indian cinematic history.
This work looks at the role of documentary in film and television. It presents a clear view of the theoretical issues and critical debates which surround documentary, and discusses the development of the main styles and approaches, including dramadocs and fly-on-the-wall.
"Independent Visions is an indispensable guide to the independent filmmakers who are changing how we look at movies. Donald Lyons writes with wit and passion."--Peter Travers, Rolling Stone Far from the big money movie machine of Hollywood lies the cutting-edge, artistically fresh world of American independent film. These independent filmmakers, working outside the formulas and constraints of the big studios, produce today's most exciting and innovative movies. In Independent Visions, film critic Donald Lyons surveys the surprisingly vast array of these independents from across the country and dissects the fascinating careers of the men and women who made them, Including: Joel Coen (Barton Fink) * Martha Coolidge (Rambling Rose) * David Cronenberg (Naked Lunch) * Abel Ferrara (Bad Lieutenant) * Carl Franklin (One False Move) * Leslie Harris (Just Another Girl on the I.R.T.) * Hal Hartley (Simple Men) * Jim Jarmusch (Mystery Train) * Spike Lee (Do the Right Thing) * David Lynch (Blue Velvet) * John McNaughton (Henry: Portrait of a Serial Killer) * Robert Rodriguez (El Mariachi) * Nancy Savoca (True Love) * John Sayles (Passion Fish) * John Singleton (Boyz N the Hood) * Steven Soderbergh (Sex, Lies and Videotape) * Quentin Tarantino (Reservoir Dogs) * Gus Van Sant (My Own Private Idaho) * and many more!
The Critical Practice of Film introduces film studies and production through the integration of criticism, theory and practice. Its approach is that of critical practice, a process that explores the integration and intersection between the critical analysis of films and the practical aspects of filmmaking. In other words, this book is both an introduction to the ways in which we watch films, as well as an introduction to how films are created − the more you know about how films are made, the more you can appreciate the artistry involved in a film. Author Elspeth kydd combines explorations of basic technical and aesthetic principles with extended analyses drawn from both classic and contemporary Hollywood and other world cinemas, including Battleship Potemkin (1927), Un Chien andalou (1929), Stagecoach (1939), Mildred Pierce (1945), Notorious (1946), Letter from an Unknown Woman (1948), Gentlemen Prefer Blondes (1953), Breathless (1959), Memories of Underdevelopment (1968), Star Wars (1977), Raiders of the Lost Ark (1981), Distant Voices, Still Lives (1988), The Matrix (1999), Amores Perros (2000), Gosford Park (2001) and The Lord of the Rings trilogy (2001–3). Also included is a range of exercises designed to stimulate critical and analytical thought and help to demystify the process of creative mediamaking. Assignments range in scale from simple storyboarding and narrative development exercises that may be explored with minimal technology, to more complex video projects that can be adapted to suit varying levels of technical skill. The Critical Practice of Film provides an accessible introduction to the theory and practice of film studies, integrating creative practice with critical and theoretical engagement to guide students towards an engaged form of creative expression and an active role as reviewer and critic. Beautifully presented, this ground-breaking text offers all students an integrated understanding of film criticism and production. Elspeth kydd is a