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This comprehensive introduction to film focuses on three topics: how movies express meanings, how viewers understand those meanings, and how cinema functions globally as both an art and a business. Using clear, accessible, and jargon-free writing, this is the only introductory film text to examine the elements of film style and the viewer's contribution to the cinema experience. How do viewers interpret the effects filmmakers create? How do filmmakers anticipate, and build on, the likely ways viewers will react to certain kinds of stories and audio-visual designs? The text examines both how filmmakers create images and sounds, and the mechanisms and processes by which viewers make sense of images and stories on screen. This approach helps students understand not only the basic concepts but also how their own reactions and opinions impact the overall film experience. New to the Fourth Edition Includes a new chapter on Cinema in Multiple Contexts to provide in-depth coverage of the various modes of filmmaking, including animation, documentary, and independent and international film as well as a discussion of diverse filmmakers (i.e. women in film and African American film). Updated film examples and case studies throughout the text, explaining terms and concepts by using examples film students know, including "Sin City, Fahrenheit 911, The Passion of the Christ, " and "Capturing the Friedmans." Offers expanded coverage of film genres, including science fiction, the war film, and film noir. Discusses hand-held camerawork, Steadicam, digital intermediates, the role of sound in contemporary film, and cinema in the DVD era to provide students with up-to-date coverage of new technologies and their impact on filmmaking. Provides an updated discussion of blockbusters, the film industry, and current box office trends to provide a more timely view of the business of film. Praise for "Movies and Meaning" "I think "Movies and Meaning" is still the best all-around introductory film text on the market today. I will continue to use it with pleasure." ~Thomas Sobchack, "University of Utah" "This text is user friendly in its size and weight, relatively compact, and manageable to transport and read. It has nice integration of photos with the text; overall the layout is inviting, engaging, dynamic. The writing is generally clear, accessible yet challenging. And the book covers most of what I consider to be important for students to successfully complete the course." ~David Laderman, "College of San Mateo" "This book has very good coverage of the topics, and it is well written. It is also organized well, with the earlier chapters supporting the material in later chapters about criticism and theory. The chapters on the studio system and how Hollywood influences and is influenced by international cinema are also very good." ~Jay Cofield, "University of Montevallo"
The Film Experience is a comprehensive introduction to film that recognizes students as movie fans while surpassing all other texts in helping them understand the art form’s full scope. Noted scholars and teachers Tim Corrigan and Patricia White capture the complete film experience, situating their strong coverage of the medium’s formal elements within the larger cultural contexts that inform the ways we all watch film—from economics and exhibition to marketing and the star system. A host of learning tools gives students the support they need to make the transition from movie fan to critical viewer. Now with a sharper focus that highlights the essential formal and cultural concepts of cinema, and a powerful new suite of video and media, The Film Experience is the consummate introductory film text. Read the preface.
This is the third book in the 'Understanding the Moving Image' series. Like other books in the series, it aims to provide a strong critical and theoretical base for the study of the media. It has been co-authored by experienced Media and Film Studies tutors, offering fresh and innovative ways of talking about the key concept of representation. How is the world mediated to deliver messages and create beliefs about groups such as the mentally ill, institutions like the family and schools, minority and marginalised people and issues of nation seen through football and films? It also looks outside our ethnocentric mediated world to see how we are represented to others. The choice of texts reflects both an attempt to push the boundaries of the study of representation with new research, but also to make it accessible and stimulating for students coming into this area for the first time. Case studies reflect contemporary concerns in the media, often from different perspectives.
There are a variety of theoretical and methodological approaches to researching how film spectators make sense of film texts, from the film text itself, the psychological traits and sociocultural group memberships of the viewer, or even the location and surroundings of the viewer. However, we can only understand the agency of film spectators in situations of film spectatorship by studying actual spectators' interactions with specific film texts in specific contexts of engagement. Making Sense of Cinema: Empirical Studies into Film Spectators and Spectatorship uses a number of empirical approaches (ethnography, focus groups, interviews, historical, qualitative experiment and physiological experiment) to consider how the film spectator makes sense of the text itself or the ways in which the text fits into his or her everyday life. With case studies ranging from preoccupations of queer and ageing men in Spanish and French cinema and comparative eye-tracking studies based on the two completely different soundscapes of Monsters Inc. and Saving Private Ryan to cult fanbase of the Lord of the Rings Trilogy and attachment theory to its fictional characters, Making Sense of Cinema aligns this subset of film studies with the larger fields of media reception studies, allowing for dialogue with the broader audience and reception studies field.
Exploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students¿ learning, while enhancing the creativity and critical thinking of the student.
Written by experts in the field, this dictionary covers all aspects of film studies, including terms, concepts, debates, and movements in film theory and criticism, national, international and transnational cinemas, film history, film movements and genres, film industry organizations and practices, and key technical terms and concepts in 500 detailed entries. Most entries also feature recommendations for further reading and a large number also have web links. The web links are listed and regularly updated on a companion website that complements the printed book. The dictionary is international in its approach, covering national cinemas, genres, and film movements from around the world such as the Nouvelle Vague, Latin American cinema, the Latsploitation film, Bollywood, Yiddish cinema, the spaghetti western, and World cinema. The most up-to-date dictionary of its kind available, this is a must-have for all students of film studies and ancillary subjects, as well as an informative read for cinephiles and for anyone with an interest in films and film criticism.
This title examines what it really means to study film, encouraging the reader to question the dominant theories as well as understanding the key approaches to cinema. The book provides an overview of the construction of film studies and examines the application of theories to film texts.
This book examines film as a multimodal text and an audiovisual synthesis, bringing together current work within the fields of narratology, philosophy, multimodal analysis, sound as well as cultural studies in order to cover a wide range of international academic interest. The book provides new insights into current work and turns the discussion towards recent research questions and analyses, representing and constituting in each contribution new work in the discipline of film text analysis. With the help of various example analyses, all showing the methodological applicability of the discussed issues, the collection provides novel ways of considering film as one of the most complex and at the same time broadly comprehensible texts.
This book argues that the sustained interpretation of individual movies has, contrary to conventional wisdom, never been a major preoccupation of film studies—that, indeed, the field is marked by a dearth of effective, engaging, and enlightening critical analyses of single films. The book makes this case by surveying what has been written about four historically important and well-known movies (D. W. Griffith’s Way Down East, Marcel Carné’s Port of Shadows, Mike Nichols’s The Graduate, and Michelangelo Antonioni’s Red Desert), none of which has been the focus of sustained critical attention, and by exhaustively examining the kinds of work published in four influential film journals (Cinema Journal, Screen, Wide Angle, and Movie). The book goes on to argue for the value of the work of interpretation, illustrating this value through extended analyses of Roman Polanski’s Chinatown and Christopher Nolan’s Memento, both of which thematize interpretation. Novak demonstrates the causes and consequences of reading poorly and the importance of reading well.