TY - BOOK TI - Film, form and culture SN - 9781138845725 U1 - 791.48 PY - 2016/// CY - London PB - Routledge N1 - Image and reality Images, the real, and history 9 ' The "truth" of the image 10 Natural BorrT Killers and the objectivity of the image 15 The urge to represent "reality" J7 Perspective and the pleasures of tricking the eye 17 Photography and reality 19 Manipulation of the image 21 Reality as image 22 From the photographic to the cinematic image 23 Moving images 23 Acknowledgments 26 Further reading 26 Suggestions for further viewing 27 Note 27 Formal structures: how films tell their stories The image, the world, and the film studio 29 From image to narrative 29 The economics of the image 32 The system develops: Buster Keaton and Charlie Chaplin 33 The growth of corporate filmmaking 35 The classical Hollywood style 36 Casablanca 36 Entertainment and invisibility 39 Fabricating the image 39 The whole and its parts 45 Making the parts invisible 47 Story, plot, and narration 48 Jaws 48 Convention and consciousness 50 Further reading 51 Suggestions fpr further viewing 52 Note 52 ; The building blocks of film I: the shot The shot 53 The long take 53 The Magnificent Ambersons 54 Touch of Evil 55 Rope, Russian Ark, and Birdman 55 Goodfeiias 56 How composition works 57 Composition in early cinema 58 D. W. Griffith 58 , The Uncfranging Sea 58 The Musketeers of Pig Alley 61 The size of the frame 61 Wide screen 62 Anamorptic and "flat" wide-screen processes 63 Loss of standards 64 The studios and the shot 65 Mise-en-scene 66 Lighting 67 Color 69 Vertigo 71 Red Desert 73 The mise-en-scene of German Expressionism 73 Expressionist mise-en-scene in the United States 74 Orson Welles and the reinvention of mise-en-scene 75 Deep focus and the long take 76 Citizen Kane 76 The Hitchcock mise-en-scene 81 Psycho 81 Working against the rules 81 Further reading 84 Suggestions for further viewing 84 Notes 84 The building blocks of film II: the cut Editing and the classic Hollywood style 85 The Great Train Robbery 87 The development of continuity cutting 89 Griffith and cutting 90 The Lonedale Operator 90 2001: A Space Odyssey 92 Shot/reverse shot 92 Point of view 95 Sight lines 95 The 180-degree rule 96 Psycho and the shot/reverse shot. 97 Convention, culture, resistance 99 Gender 102 Coding 102 Responses to conventional cutting 103 Eisensteinian montage 104 Battleship Patemkin 105 Eisenstein and Oliver Stone 107 The narrative of the classical style 107 Working creatively within and against conventions 108 Further reading 109 Suggestions for further viewing 109 Notes 110 The storytellers of film I Collaboration as creativity 113 - Creative craftspeople 114 > Cinematographer 114 ^ Editor 116 Production designer 117 Special effects and CGI 119 Sound designers 122 Composer 123 Screenwriter 126 Producer 129 Further reading 131 Suggestions for further viewing 132 Notes 133 The storytellers of film II: acting Methods of performance 135 Delsarte 136 The Method 137 Cultures of acting 139 How screen acting works; the gaze and the gesture 142 Eyes Wide Shut and Vertigo 142 Celebrity 146 Further reading 146 Suggestions for further viewing 147 Notes 147 The storytellers of film Ml: the director The producer as director 149 European origins of the auteur 150 France and the French New Wave 150 The auteur theory 151 Andrew Sarris and the three principles: competence, style, vision 151 Robert Altman 156 Martin Scorsese 157 Stanley Kubrick 163 Alfred Hitchcock 165 Women auteurs 167 Alice Guy-Blache and Lois Weber 167 Dorothy Arzner 168 Ida Lupino 169 Women filmmakers today 171 Kathryn Bigelow 171 African American filmmakers 173 Spike Lee 173 Tyler Perry 174' Julie DasLt 174 Auteurism today 176 Christopher Nolan 176 What Is the director?. 178 Further reading' 179 Suggestions for-further viewing 180 Notes 180 International cinema Early influences 181 Neorealism 182 Bicycle Thieves and Rome, Open City 183 Neorealism's influence 186 Italian cinema after neorealism 187 Federico Fellini and Michelangelo Antonioni 187 Bernardo Bertolucci 189 The New Wave 190 Franqois Truffaut and Jean-Luc Godard 191 The new German cinema 194 Wim Wenders 194 Werner Herzog 195 Rainer Werner Fassbinder 197 Chantal Akerman 199 Jeanne Dielman 199 Film in Asia 200 Japan and Yasujiro Ozu 200 Hong Kong and Wong Kar-wai 202 Bollywood 203 Satyagraha 203 The Lunchbox 204 European cinema today 205 Jean-Pierre and Luc Dardenne 205 Michael Haneke 205 r Film culture 208 ' Further reading 209 Suggestions for further viewing 209 Notes 210 The stories told by film 1 The stories we want to see 213 It's a Wonderful Life 213 Closure 214 Dominant fictions 214 Narrative constraints 215 Censorship 216 Genre 217 Subgenres 2-17 Generic origins 218 Generic patterns: the gangster flim 220 Genre and narrative economy 222 Documentary 223 Newsreels and television 223 Early masters of the documentary 224 Dziga Vertov and Esther Shub 224 Robert Flaherty 225 ■■ Pare Lorentz 226 Leni Riefenstahl 228 John Grierson and the British documentary movement 229 World War II 230 Cinema verite 231 David and Albert Maysles 231 Michael Moore 232 Errol Morris 233 The genres of fiction films 234 The Western 235 The Western landscape 235 The obstacle to westward expansion 236 The Western star and the Western director 236 Stagecoach 237 Fort Apache and The Man Who Shot Liberty Valence 238 The Searchers 239 The Western after the 1950s 240 The Wild Bunch, Little Big Man, McCabe and Mrs. Miller 240 Science fiction and horror 242 Fritz Lang's Metropolis 243 Science fiction in the 1950s and beyond 243 The Day the Earth Stood Still 244 The Thing from Another World 245 Forbidden Planet 245 Alien, Blade Runner, and Dark City lAl 2001: A Space Odyssey 249 The post-apocalyptic world and zombies 250 Further reading 252 Suggestions for further viewing 253 Notes 255 10 The stories told by film II Film noir 257 Expressionist roots of noir 258 Hard-boiled fiction 258 The Maltese Falcon 259 Murder, My ^eet. Double Indemnity, Scarlet Street 259 Anthony Marin 261 Noir's climax 262 ; In a Lonely Plpce 252 The Wrong Man 263 Kiss Me Deadly 263 Touch of Evil 264 Noir's rebirth 265 Melodrama 266 Broken Blossoms 267 Now, Voyager 271 Casablanca 275 Contemporary melodrama 276 The Fault in Our Stars 276 Flight 276 Brokeback Mountain 276 One genre, two countries, three directors 278 All That Fteaven Allows, All: Fear Eats the Soul, Far From Fleaven 278 The filmmakers 278 Rainer Werner Fassbinder 278 Douglas Sirk 278 Todd Haynes 279 The common thread 280 All That Heaven Allows and Far From Heaven 280 Race 282 Gender 283 All: Fear Eats the Soul 285 The influence of Bertolt Brecht 286 The gaze 287 Fassbinder's narrative 288 Happiness is not always fun 289 Genre resilience 289 Further reading 290 Suggestions for further viewing ,290 Notes 291 ^ 11 Film as cultural practice Film in the realm of culture 293 Culture as text 294 Subcultures 295 Media and cultures 295 The new Web 298 Theories of culture 299 The Frankfurt school 299 ■ The critique of American popular culture 300 High culture, masscult, and midcult 301 Walter Benjamin and the age of-mechanical reproduction 302 The aura of state intervention 304 The Birmingham School of Cultural Studies 305 Reception and negotiation 306 c Judgment and values 307 Intertextuality and postmodernism 308 Cultural criticism applied to Vertigo and This is 40 309 The cultural-technological mix: film, television, digital 310 Judd Apatow and the digital 312 The actor's persona: James Stewart and the Apatow boys and women 312 James Stewart 312 The Apatow stock company 313 Vertigo and the culture of the 1950s 315 The Kinsey Reports 316 This is 40 and the culture of the early 2000s 317 The vulnerable male in film 319 Film, form, and culture 321 Modernity, modernism, the postmodern 323 Formal structures 324 Conclusion 325 ER -