Film, Form, and Culture w/ DVD-ROM

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9780073123615: Film, Form, and Culture w/ DVD-ROM

From screen kisses to gender roles, "Film, Form and Culture" explores the interaction between the movies and the society of which they are a part. Students are introduced to the elements of film - the shot, the cut, the soundtrack - and they are encouraged to think seriously about the means by which these elements shape an audience's understanding of the narrative. On a larger scale, students are asked to consider how a film can influence its viewer even after the last reel has run out - and the way that societal changes radically alter the course of film history.

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About the Author:

Robert Kolker teaches film studies and digital theory and practice at the University of Maryland, College Park. He is currently the president of the Society for Cinema Studies. He is the author of several books on film. A Cinema of Loneliness: Penn, Kubrick, Scorsese, Spielberg, Altman will soon appear in its third edition. His book on European film, The Altering Eye, is now on the World Wide Web at http://otal.umd.edu/~rkolker/AlteringEye. His first online work combining film analysis with moving images, "The Moving Image Reclaimed," can be found in Postmodern Culture (Volume 5, Number 1, September 1994, at http://muse.jhu.edu/journals/postmodern_culture/toc/pmcv005.html. He edited the special film issue of that journal, Volume 8, Number 2, January 1998 http://muse.jhu.edu/journals/postmodern_culture/toc/pmcv008.html#v008.1 Advances, Grants and Royalty payments are paid through Literary Agent - Robert Lieberman (address in "Other Address" tax id# 16-1467985

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Book Description McGraw-Hill Humanities/Social Sciences/Languages, 2005. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Preface Introduction Chapter One: Image and Reality IMAGES OF IMAGES The "Truth" of the Image The Urge to Represent "Reality" Perspective and the Pleasures of Tricking the Eye Photography and Reality Manipulation of the Image Reality as Image FROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGE Moving Images NOTES AND REFERENCES Chapter Two: Formal Structures: How Films Tell Their Stories THE IMAGE, THE WORLD, AND THE FILM STUDIO From Image to Narrative THE ECONOMICS OF THE IMAGE The System Develops: Buster Keaton and Charlie Chaplin The Growth of Corporate Filmmaking THE CLASSICAL HOLLYWOOD STYLE Fabricating the Image The Whole and Its Parts Making the Parts Invisible Story, Plot, and Narration Convention And Consciousness Notes and References Chapter Three: Building Blocks I: The Shot THE SHOT COMPOSITION: THE SIZE OF THE FRAME Cinerama Anamorphic and "Flat" Wide Screen Processes Loss of Standards HOW COMPOSITION WORKS Composition in Early Cinema D.W. Griffith The 90-degree Rule The Studios and the Shot MISE-EN-SCNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULES MISE-EN-SCNE IN STERNBERG, MURNAU, AND HITCHCOCK ORSON WELLES AND THE REINVENTION OF COMPOSITION Deep Focus and The Long Take WORKING AGAINST THE RULES LIGHTING AND COLOR COMPOSING IN WIDE SCREEN THE MOVING CAMERA NOTES AND REFERENCES Chapter Four: Building Blocks II: The Cut THE DEVELOPMENT OF CONTINUITY CUTTING Griffith and Cutting Shot/Reverse Shot Point Of View Sight Lines The 180-degree Rule CONVENTION, CULTURE, RESISTANCE Gender Coding Responses To Conventional Cutting Eisensteinian Montage The Narrative of the Classical Style Avant-Garde Film Working Creatively Within and Against Conventions NOTES AND REFERENCES Chapter Five: The Story Tellers of Film I COLLABORATION AS CREATIVITY CREATIVE CRAFTSPEOPLE Cinematographer Production Designer Computer Designer Sound Designers Editor Composer Screenwriter Actors Producer Notes and References Chapter Six: The Story Tellers of Film II: The Film Director EUROPEAN ORIGINS THE BIRTH OF THE AUTEUR THE AUTEUR THEORY Robert Altman Martin Scorsese Stanley Kubrick Alfred Hitchcock WOMEN AUTEURS Women's Avant-garde Films Maya Deren Alice Guy-Blachegrave; and Lois Weber Dorothy Arzner Ida Lupino Women Filmmakers Today Julie Dash, Julie Taymor, and Chantal Akerman THE AUTEUR ABROAD AUTEURISM TODAY NOTES AND REFERENCES Chapter Seven: Film as Cultural Practice FILM IN THE REALM OF CULTURE CULTURE AS TEXT Subcultures Media and Cultures The New Web THEORIES OF CULTURE The Frankfurt School The Critique of American Popular Culture High Culture, Masscult, and Midcult Walter Benjamin and the Age of Mechanical Reproduction The Aura of State Intervention The Birmingham School of Cultural Studies Reception and Negotiation Judgment and Values Intertextuality and Postmodernism CULTURAL CRITICISM APPLIED TO VERTIGO AND DIE HARD The Cultural-Technological Mix: Film and Television Bruce Willis, TV, and Movies The Actor's Persona: Bruce Willis and James Stewart Vertigo and the Culture of the Fifties The Kinsey Reports The Vulnerable Male in Film Postmodern Villains Ethnicity in Die Hard The Buddy Film The End of Redemption NOTES AND REFERENCES Chapter Eight: The Stories Told By Film I MASTER NARRATIVES AND DOMINANT FICTIONS Closure The Master and the Dominant Narrative Constraints Censorship GENRE Subgenres Genre and Gesture<h5. Bookseller Inventory # ABE_book_new_0073123617

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Book Description McGraw-Hill Higher Education, 2005. Paperback. Book Condition: Brand New. 3rd paperback/cd-rom edition. 256 pages. 9.00x7.25x0.50 inches. In Stock. Bookseller Inventory # zk0073123617

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