An Introduction to Film StudiesJill Nelmes Psychology Press, 2003 - 500 pagini An Introduction to Film Studies has established itself as the leading textbook for students of cinema. This revised and updated third edition guides students through the key issues and concepts in film studies, and introduces some of the world's key national cinemas including British, Indian, Soviet and French. Written by experienced teachers in the field and lavishly illustrated with over 122 film stills and production shots, it will be essential reading for any student of film.Features of the third edition include:*full coverage of all the key topics at undergraduate level*comprehensive and up-to-date information and new case studies on recent films such as Gladiator , Spiderman , The Blair Witch Project, Fight Club , Shrek and The Matrix*annotated key readings, further viewing, website resources, study questions, a comprehensive bibliography and indexes, and a glossary of key terms will help lecturers prepare tutorials and encourage students to undertake independent study.Individual chapters include:*Film form and narrative*Spectator, audience and response*Critical approaches to Hollywood cinema: authorship, genre and stars*Animation: forms and meaning*Gender and film*Lesbian and gay cinema*British cinema*Soviet montage Cinema*French New Wave*Indian Cinema |
Cuprins
Notes | 46 |
understanding cinema and storytelling | 54 |
THE BEGINNING OF KEATONS THE GENERAL 1925 | 60 |
Narrative | 78 |
Alternative narratives | 84 |
Further viewing | 90 |
What we can learn from Early Cinema | 97 |
The passive spectator | 105 |
HAPPY TOGETHER WONG KAR WAI 1997 | 304 |
Key texts | 314 |
aspects of British | 321 |
Continental drift | 331 |
Community and nation | 340 |
Intermedial raids and exchanges | 346 |
WEST END GIRLS WONDERLAND 1999 AND BRIDGET JONESS | 352 |
Resource centres | 358 |
PLEASURE AND EVALUATION PULP FICTION | 116 |
Mixing approaches | 124 |
CORPORATE AUTHORSHIP INDUSTRIAL LIGHT AND MAGIC ILM | 129 |
Introduction | 130 |
The problems of auteur theory | 137 |
GENRE FORMS | 185 |
forms and meanings | 213 |
Continuing to experiment | 229 |
Conclusion | 236 |
Introduction | 242 |
Feminist film theory and practice | 249 |
SALLY POTTER FILMMAKER | 258 |
Gender theory and theories of masculinity | 264 |
Fatherhood and the family | 270 |
Notes | 276 |
Audiences | 282 |
Some films with gaylesbian themes | 291 |
Go FISH ROSE TROCHE 1994 | 298 |
MONSOON WEDDING MIRA NAIR 2002 | 364 |
Song and dance sequences | 370 |
Gangster films | 376 |
HEY RAM KAMAL HAASAN 1999 | 382 |
Further reading | 388 |
montage | 394 |
SERGEI EISENSTEIN STRIKE 1924 BATTLESHip Potemkin 1925 | 400 |
Vsevolod PuDOVKIN THE MOTHER 1926 THE END | 409 |
ESFIR SHUB THE FALL OF THE ROMANOV DYNASTY 1927 | 415 |
The French New Wave | 421 |
A BOUT DE SOUFFLE BREATHLESS JEANLUC GODARD 1960 | 428 |
LA JETÉE THE PIER CHRIS MARKER 1962 | 434 |
JeanLuc Godard | 442 |
Conclusion | 448 |
Bibliography | 469 |
483 | |
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actors aesthetic American animation approach argues artistic audience auteur auteur theory BBFC blockbuster British Film Institute Cahiers Cahiers du cinéma camera cartoon Chapter characters cinematic authorship contemporary conventions courtesy British Film courtesy Kobal Collection cultural Deadsy directors documentary dominant editing Eisenstein example feature female feminist film feminist film theory fiction Fight Club film industry film production film studies film theory film-makers film's François Truffaut French French New Wave further discussion gender genre Green Goblin Hollywood cinema ibid idea ideological Indian cinema Jarmusch's Jean-Luc Godard Jim Jarmusch lesbian London look mainstream male masculinity meaning mise-en-scène montage movie narrative particular Plate pleasure political popular cinema relationship representation role scene screen Sergei Eisenstein sexual Sholay shot social soundtrack Soviet spectator spectatorship Spider-Man star stardom story style television theatre tion Truffaut viewer visual Warner Wave women