Film A Critical Introduction 4th edition by Maria Pramaggiore, Tom Wallis – Ebook PDF Instant Download/Delivery: 1786275775, 978-1786275776
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ISBN 10: 1786275775
ISBN 13: 978-1786275776
Author: Maria Pramaggiore, Tom Wallis
Updated and expanded for a new edition, this is the perfect starter text for students of film studies. Packed full of visual examples from all periods of film history up to the present, Film:A Critical Introduction illustrates film concepts in context and in depth, addressing techniques and terminology used in film production and criticism, and emphasizing thinking and writing critically and effectively.
With reference to 450 new and existing images, the authors discuss contemporary films and film studies scholarship, as well as recent developments in film production and exhibition, such as digital technologies and new modes of screen media.
Film A Critical Introduction 4th Table of contents:
Part One: Introduction to Film Analysis
Chapter 1: Introduction
Cinema: A Confluence of Artistry, Industry, and Technology
The Cinema is Dead! Long Live the Cinema!
Chapter Review
Chapter 2: An Approach to Film Analysis
Understanding Audience Expectations
Expectations and Modes of Organization
Expectations of Genres, Stars, and Directors
The Orchestration of Detail
Motifs
Parallels
Details and Structure
Parallels and Structure
Turning Points
Repetition and Non-chronological Structure
Creating Meaning Through the World Beyond the Film
Historical Events and Cultural Attitudes
Stars and Public Figures as References
Intertextual References
Meaningful References with Objects
Film Style
Classical, Realist, and Formalist Aesthetics
Analyzing Film Style
The Goal of Film Analysis: Articulating Meaning
Descriptive Claims
Interpretative Claims
Evaluative Claims
The Importance of Developing Interpretive Claims
Chapter Review
Film Analysis: Reading Significant Details
The Orchestration of Detail in Pan’s Labyrinth
Chapter 3: Writing About Film
Getting Started
Keeping a Film Journal
Formulating a Thesis
Managing Verb Tense
Academic Approaches to Writing About Film
The Scene Analysis Paper
The Film Analysis
The Research Paper
Conducting Archival Research
Journalistic Writing: The Popular Review
“Moonlight Review,” by Dan Jolin, February 13, 2017
Chapter Review
Part Two: Film Analysis
Chapter 4: Narrative Form
Defining Narrative
Framing the Fictional World: Diegetic and Non-diegetic Elements
Within the Diegesis: Selecting and Organizing Events
Narrative Structure
Alternatives to Conventional Narrative Structure
Variations on Narrative Conventions: Beyond Structure
Perspective and Meaning
Techniques in Practice: Narrative Structure in Stagecoach
Character Subjectivity
Techniques in Practice: Noticing Shifts in Narration
Chapter Review
Film Analysis: Analyzing Narrative Structure
The Horror of Silence in Get Out
Chapter 5: Mise en Scène
Setting
Describing Setting: Visual and Spatial Attributes
The Functions of Setting
The Human Figure
Casting
Techniques in Practice: Same Film, Different Settings / Same Setting, Different Films
Acting Style
Acting Brechtian: Distancing the Audience
Actors’ Bodies: Figure Placement
Actors’ Bodies: Costumes and Props
Techniques in Practice: Figure Placement in Citizen Kane
Actors’ Bodies: Makeup
Lighting
Hollywood’s Lighting Schemes
Composition
Balance and Symmetry
Lines and Diagonals
Foreground and Background
Light and Dark
Color
Two Approaches to Mise en Scène
The Frame in Two Dimensions: Mise en Scène in German Expressionism
Combining Mise en Scène and Camerawork: The Frame in Three Dimensions in French Poetic Realism
Chapter Review
Film Analysis: The Functions of Space
Spatial Oppositions in Thelma & Louise
Chapter 6: Cinematography
The Camera in Time and Space
Creating Meaning in Time: The Shot
Altering Time: Slow and Fast Motion
The Camera and Space: Height, Angle, and Shot Distance
Camera Movement: Exploring Space
Lenses and Filters: The Frame in Depth
The Visual Characteristics of Lenses: Depth of Field and Focal Length
Combining Camera Movement and Lens Movement
Techniques in Practice: Patterns of Camera Placement and Movement
Through the Lens: Filters and Diffusers
Techniques in Practice: Lenses and the Creation of Space
Film Stock
Characteristics of Film Stock
Light and Exposure
Film Stock and Color
Wide Film and Widescreen Formats
Stereoscopic 3D: Then and Now
Processing Film Stock
Film, Video, and Digital Technologies: A Comparison
Special Visual Effects
Manipulating the Image on the Set
Creating Scene Transitions, Titles, and Credits: The Optical Printer
Optical and Digital Compositing: Assembling the Elements of the Shot
Performance Capture
Computer-generated Imagery
Digital Cinema: Post-production
Digital Cinematography and Film Style
Chapter Review
Film Analysis: Cinematography as a Storytelling Device
Entrapment and Escape in Ratcatcher
Chapter 7: Editing
The Attributes of Editing: Creating Meaning Through Collage, Tempo, and Timing
Joining Images: A Collage of Graphic Qualities
Tempo
Adjusting the Timing of Shot Transitions
Techniques in Practice: Using Contrasting Imagery and Timing to Romanticize the Outlaws in Bonnie and Clyde
Story-Centered Editing and the Construction of Meaning
Editing and Time
Editing and Space
Beyond Narrative: Creating Meaning Outside the Story
Continuity Editing: Conventional Patterns and “Bending the Rules”
“Breaking the Rules”: The French New Wave and its Influence
Associational Editing: Editing and Metaphor
Techniques in Practice: Soviet Montage Aesthetics in The Godfather
Chapter Review
Film Analysis: Classical Editing
Editing in Notorious
Chapter 8: Sound
Film Sound: A Brief History
Critical Debates over Film Sound
Freeing Sound from Image
The Relationship Between Sound and Image
Emphasizing the Contrast between Onscreen and Offscreen Space
Emphasizing the Difference between Objective Images and Subjective Sounds
Emphasizing the Difference between Diegetic and Non-diegetic Sound
Emphasizing the Difference between Image Time and Sound Time
Emphasizing Differences between Image Mood and Sound Mood
Components of Film Sound: Dialogue
Text and Subtext
Volume and Pitch
Speech Characteristics
Acoustic Qualities
Addressing the Audience: The Voice-over
Techniques in Practice: The Human Voice as Aural Object
Components of Film Sound: Sound Effects
Functions of Sound Effects
Characteristics of Sound Effects
Techniques in Practice: Sound Effects and the Construction of Class in Days of Heaven
Components of Film Sound: Music
Functions of Film Music
Five Characteristics of Film Music
Techniques in Practice: Bernard Herrmann’s Score and Travis Bickle’s Troubled Masculinity in Taxi Driver
Chapter Review
Film Analysis: The Human Voice and Sound Effects
Sound in No Country for Old Men: A Tradition of Violence
Chapter 9: Alternatives to Narrative Fiction Film: Documentary and Avant-garde Films
Three Modes of Filmmaking: A Comparison Documentary Film: “The Creative Treatment of Actuality”
Documentary Form
Voice of Authority
Talking Heads and the Director–Participant
Direct Cinema and Cinéma Vérité
Self-reflexive Documentary
Avant-doc
The Mockumentary
Two Theoretical Questions
Documentary Spectatorship
Ethics and Ethnography
Avant-garde Film
Surrealist Cinema
Abstract Film
Techniques in Practice: Interpreting Abstract Films
The City Symphony
Structuralist Film
The Compilation Film
Conducting Research on Documentary and Avant-garde Films: Locating Sources
Chapter Review
Film Analysis: Interpreting Avant-garde Films
Analyzing Meshes of the Afternoon
Part Three: Cinema and Culture
Chapter 10: Film and Ideology
Ideology and Film Analysis
The Institutional Enforcement of Ideology: The Production Code and the Anti-Communist Witch Hunts
Anti-Communist Witch Hunts and Hollywood Cinema
Ideology and Film Spectatorship
Topics in Ideological Criticism
Racial Ideology and American Cinema
Gender and Cinema
Sexuality and Cinema
Disability and Cinema
Chapter Review
Chapter 11: Social Context and Film Style: National, International, and Transnational Cinema
Hollywood’s Industrial Context: The Studio System as Dream Factory
Classical Style
Economic Practice and Hollywood Convention
American Values and Hollywood Style
Hollywood Conquers the World?
International Art Cinema
The Industry and Ideology of “Art”
Italian Neorealism
Third Cinema
Fourth Cinema
National and Transnational Cinemas
Problematizing the National Cinema Model
Defining Transnational Cinema
Chapter Review
Chapter 12: Film Stardom as a Cultural Phenomenon
Stars and the Movie Industry
The Dynamics of Performance
The Star Persona
Films
Promotion and Publicity
Criticism and Commentary
Stardom and Ideology
Stars and Subcultures
Fan Culture
Chapter Review
Chapter 13: Genre
What Makes a Genre?
Expressive Variation in the Midst of Formula
Thematic Conventions
Major American Genres
The Western
Film Noir and the Hard-boiled Detective Film
The Action Film
The Science Fiction Film
The Musical
Using Genre to Interpret Films
Genres and Aesthetic Appeal: Cliché or Strategic Repetition?
Genre and the Status Quo
Genres as Culturally Responsive Artifacts
Genre and Film Authorship
Chapter Review
Chapter 14: Film Authorship
The Idea of the Auteur: From Cahiers du Cinéma to the Sarris–Kael Debate
Auteur as Marketing Strategy: Old and New Hollywood
Studio-era Auteurs: Welles and Hitchcock
Blockbuster Auteurs: Spielberg and Lucas
Using the Auteur Approach to Interpret and Evaluate Films
The Auteur and the Consistency Thesis
The Life and Work of an Auteur: Studying Biographical Influence
Auteurs and Ancestors: The Question of Influence
Chapter Review
Chapter 15: Studying Screen Media
Participatory Culture and the Democratization of the Moving Image
Media Conglomeration
Internet Culture: New Grassroots Aesthetic or New Model of Corporate Control?
New Screens, New Labor
Stardom
Authorship
Access to the Digital Workplace
Analyzing Labor in the Online Community: The Case of Bokeh
New and Familiar Visual Aesthetics
Visual Storytelling
Non-narrative Texts
Out with the Old, In with the New?
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