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Image and reality<br/>Images, the real, and history 9 '<br/>The "truth" of the image 10<br/>Natural BorrT Killers and the objectivity of the image 15<br/>The urge to represent "reality" J7<br/>Perspective and the pleasures of tricking the eye 17<br/>Photography and reality 19<br/>Manipulation of the image 21<br/>Reality as image 22<br/>From the photographic to the cinematic image 23<br/>Moving images 23<br/>Acknowledgments 26<br/>Further reading 26<br/>Suggestions for further viewing 27<br/>Note 27<br/>Formal structures: how films tell their stories<br/>The image, the world, and the film studio 29<br/>From image to narrative 29<br/>The economics of the image 32<br/>The system develops: Buster Keaton and Charlie Chaplin 33<br/>The growth of corporate filmmaking 35<br/>The classical Hollywood style 36<br/>Casablanca 36<br/>Entertainment and invisibility 39<br/>Fabricating the image 39<br/>The whole and its parts 45<br/>Making the parts invisible 47<br/>Story, plot, and narration 48<br/>Jaws 48<br/>Convention and consciousness 50<br/>Further reading 51<br/>Suggestions fpr further viewing 52<br/>Note 52 ;<br/>The building blocks of film I: the shot<br/>The shot 53<br/>The long take 53<br/>The Magnificent Ambersons 54<br/>Touch of Evil 55<br/>Rope, Russian Ark, and Birdman 55<br/>Goodfeiias 56<br/>How composition works 57<br/>Composition in early cinema 58<br/>D. W. Griffith 58 ,<br/>The Uncfranging Sea 58<br/>The Musketeers of Pig Alley 61<br/>The size of the frame 61<br/>Wide screen 62<br/>Anamorptic and "flat" wide-screen processes 63<br/>Loss of standards 64<br/>The studios and the shot 65<br/>Mise-en-scene 66<br/>Lighting 67<br/>Color 69<br/>Vertigo 71<br/>Red Desert 73<br/>The mise-en-scene of German Expressionism 73<br/>Expressionist mise-en-scene in the United States 74<br/>Orson Welles and the reinvention of mise-en-scene 75<br/>Deep focus and the long take 76<br/>Citizen Kane 76<br/>The Hitchcock mise-en-scene 81<br/>Psycho 81<br/>Working against the rules 81<br/>Further reading 84<br/>Suggestions for further viewing 84<br/>Notes 84<br/>The building blocks of film II: the cut<br/>Editing and the classic Hollywood style 85<br/>The Great Train Robbery 87<br/>The development of continuity cutting 89<br/>Griffith and cutting 90<br/>The Lonedale Operator 90<br/>2001: A Space Odyssey 92<br/>Shot/reverse shot 92<br/>Point of view 95<br/>Sight lines 95<br/>The 180-degree rule 96<br/>Psycho and the shot/reverse shot. 97<br/>Convention, culture, resistance 99<br/>Gender 102<br/>Coding 102<br/>Responses to conventional cutting 103<br/>Eisensteinian montage 104<br/>Battleship Patemkin 105<br/>Eisenstein and Oliver Stone 107<br/>The narrative of the classical style 107<br/>Working creatively within and against conventions 108<br/>Further reading 109<br/>Suggestions for further viewing 109<br/>Notes 110<br/>The storytellers of film I<br/>Collaboration as creativity 113 -<br/>Creative craftspeople 114 ><br/>Cinematographer 114 ^<br/>Editor 116<br/>Production designer 117<br/>Special effects and CGI 119<br/>Sound designers 122<br/>Composer 123<br/>Screenwriter 126<br/>Producer 129<br/>Further reading 131<br/>Suggestions for further viewing 132<br/>Notes 133<br/>The storytellers of film II: acting<br/>Methods of performance 135<br/>Delsarte 136<br/>The Method 137<br/>Cultures of acting 139<br/>How screen acting works; the gaze and the gesture 142<br/>Eyes Wide Shut and Vertigo 142<br/>Celebrity 146<br/>Further reading 146<br/>Suggestions for further viewing 147<br/>Notes 147<br/>The storytellers of film Ml: the director<br/>The producer as director 149<br/>European origins of the auteur 150<br/>France and the French New Wave 150<br/>The auteur theory 151<br/>Andrew Sarris and the three principles: competence, style, vision 151<br/>Robert Altman 156<br/>Martin Scorsese 157<br/>Stanley Kubrick 163<br/>Alfred Hitchcock 165<br/>Women auteurs 167<br/>Alice Guy-Blache and Lois Weber 167<br/>Dorothy Arzner 168<br/>Ida Lupino 169<br/>Women filmmakers today 171<br/>Kathryn Bigelow 171<br/>African American filmmakers 173<br/>Spike Lee 173<br/>Tyler Perry 174'<br/>Julie DasLt 174<br/>Auteurism today 176<br/>Christopher Nolan 176<br/>What Is the director?. 178<br/>Further reading' 179<br/>Suggestions for-further viewing 180<br/>Notes 180<br/>International cinema<br/>Early influences 181<br/>Neorealism 182<br/>Bicycle Thieves and Rome, Open City 183<br/>Neorealism's influence 186<br/>Italian cinema after neorealism 187<br/>Federico Fellini and Michelangelo Antonioni 187<br/>Bernardo Bertolucci 189<br/>The New Wave 190<br/>Franqois Truffaut and Jean-Luc Godard 191<br/>The new German cinema 194<br/>Wim Wenders 194<br/>Werner Herzog 195<br/>Rainer Werner Fassbinder 197<br/>Chantal Akerman 199<br/>Jeanne Dielman 199<br/>Film in Asia 200<br/>Japan and Yasujiro Ozu 200<br/>Hong Kong and Wong Kar-wai 202<br/>Bollywood 203<br/>Satyagraha 203<br/>The Lunchbox 204<br/>European cinema today 205<br/>Jean-Pierre and Luc Dardenne 205<br/>Michael Haneke 205 r<br/>Film culture 208 '<br/>Further reading 209<br/>Suggestions for further viewing 209<br/>Notes 210<br/>The stories told by film 1<br/>The stories we want to see 213<br/>It's a Wonderful Life 213<br/>Closure 214<br/>Dominant fictions 214<br/>Narrative constraints 215<br/>Censorship 216<br/>Genre 217<br/>Subgenres 2-17<br/>Generic origins 218<br/>Generic patterns: the gangster flim 220<br/>Genre and narrative economy 222<br/>Documentary 223<br/>Newsreels and television 223<br/>Early masters of the documentary 224<br/>Dziga Vertov and Esther Shub 224<br/>Robert Flaherty 225 ■■<br/>Pare Lorentz 226<br/>Leni Riefenstahl 228<br/>John Grierson and the British documentary movement 229<br/>World War II 230<br/>Cinema verite 231<br/>David and Albert Maysles 231<br/>Michael Moore 232<br/>Errol Morris 233<br/>The genres of fiction films 234<br/>The Western 235<br/>The Western landscape 235<br/>The obstacle to westward expansion 236<br/>The Western star and the Western director 236<br/>Stagecoach 237<br/>Fort Apache and The Man Who Shot Liberty Valence 238<br/>The Searchers 239<br/>The Western after the 1950s 240<br/>The Wild Bunch, Little Big Man, McCabe and Mrs. Miller 240<br/>Science fiction and horror 242<br/>Fritz Lang's Metropolis 243<br/>Science fiction in the 1950s and beyond 243<br/>The Day the Earth Stood Still 244<br/>The Thing from Another World 245<br/>Forbidden Planet 245<br/>Alien, Blade Runner, and Dark City lAl<br/>2001: A Space Odyssey 249<br/>The post-apocalyptic world and zombies 250<br/>Further reading 252<br/>Suggestions for further viewing 253<br/>Notes 255<br/>10 The stories told by film II<br/>Film noir 257<br/>Expressionist roots of noir 258<br/>Hard-boiled fiction 258<br/>The Maltese Falcon 259<br/>Murder, My ^eet. Double Indemnity, Scarlet Street 259<br/>Anthony Marin 261<br/>Noir's climax 262 ;<br/>In a Lonely Plpce 252<br/>The Wrong Man 263<br/>Kiss Me Deadly 263<br/>Touch of Evil 264<br/>Noir's rebirth 265<br/>Melodrama 266<br/>Broken Blossoms 267<br/>Now, Voyager 271<br/>Casablanca 275<br/>Contemporary melodrama 276<br/>The Fault in Our Stars 276<br/>Flight 276<br/>Brokeback Mountain 276<br/>One genre, two countries, three directors 278<br/>All That Fteaven Allows, All: Fear Eats the Soul, Far From Fleaven 278<br/>The filmmakers 278<br/>Rainer Werner Fassbinder 278<br/>Douglas Sirk 278<br/>Todd Haynes 279<br/>The common thread 280<br/>All That Heaven Allows and Far From Heaven 280<br/>Race 282<br/>Gender 283<br/>All: Fear Eats the Soul 285<br/>The influence of Bertolt Brecht 286<br/>The gaze 287<br/>Fassbinder's narrative 288<br/>Happiness is not always fun 289<br/>Genre resilience 289<br/>Further reading 290<br/>Suggestions for further viewing ,290<br/>Notes 291 ^<br/>11 Film as cultural practice<br/>Film in the realm of culture 293<br/>Culture as text 294<br/>Subcultures 295<br/>Media and cultures 295<br/>The new Web 298<br/>Theories of culture 299<br/>The Frankfurt school 299 ■<br/>The critique of American popular culture 300<br/>High culture, masscult, and midcult 301<br/>Walter Benjamin and the age of-mechanical reproduction 302<br/>The aura of state intervention 304<br/>The Birmingham School of Cultural Studies 305<br/>Reception and negotiation 306 c<br/>Judgment and values 307<br/>Intertextuality and postmodernism 308<br/>Cultural criticism applied to Vertigo and This is 40 309<br/>The cultural-technological mix: film, television, digital 310<br/>Judd Apatow and the digital 312<br/>The actor's persona: James Stewart and the Apatow boys and women 312<br/>James Stewart 312<br/>The Apatow stock company 313<br/>Vertigo and the culture of the 1950s 315<br/>The Kinsey Reports 316<br/>This is 40 and the culture of the early 2000s 317<br/>The vulnerable male in film 319<br/>Film, form, and culture 321<br/>Modernity, modernism, the postmodern 323<br/>Formal structures 324<br/>Conclusion 325 |
