Film Art is often assigned to college students taking their first film class. Authors David Bordwell and Kristin Thompson do not follow the traditional method of teaching film art through a close analysis of individual films. Instead, they provide an overview of the major issues students confront when they watch movies. In clear, straightforward prose, the authors describe and dissect the complexities of filmmaking, film narrative, film form, and film technique. This book serves as a fine introduction not only to the field of film studies, but also to the theories and concerns of two of the most important scholars in that field.
This comprehensive survey not only acknowledges the contributions of Hollywood and films from other US sources, but broadens its scope to examine film-making internationally.
Acclaimed for its breakthrough approach and its combination of theoretical analysis and empirical evidence, this is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s.
"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Kristin Thompson "defamiliarizes" readers with eleven films, showcasing the flexibility of the neoformalist approach she developed in her earlier work. She critiques the tendency of critics to apply rigid methods to films that easily conform to those frameworks. In contrast, neoformalism encourages a unique analysis for each film, prompting continual modification of analytical assumptions. Thompson’s varied and insightful analyses range from the ordinary Hollywood film, Terror by Night, to masterpieces like Late Spring and Lancelot du Lac. She introduces a formal historical perspective on realism, exemplified by Bicycle Thieves and The Rules of the Game. Other chapters explore how classical cinema can subvert its conventions, as seen in Stage Fright and Laura, which play with audience expectations. Additionally, she examines Tati's Les Vacances de Monsieur Hulot and Play Time, alongside Godard's Tout va bien and Sauve qui peut (la vie). While neoformalist analysis is rigorous, it remains accessible, allowing readers to engage with individual essays on specific films. Ultimately, the work aims to offer new perspectives on cinema as a whole, beyond simply enhancing the understanding of these particular films.
In a book as entertaining as it is enlightening, Kristin Thompson offers the first in-depth analysis of Hollywood's storytelling techniques and how they are used to make complex, easily comprehensible, entertaining films. She also takes on the myth that modern Hollywood films are based on a narrative system radically different from the one in use during the Golden Age of the studio system.Drawing on a wide range of films from the 1920s to the 1990s--from Keaton's Our Hospitality to Casablanca to Terminator 2 --Thompson explains such staples of narrative as the goal-oriented protagonist, the double plot-line, and dialogue hooks. She domonstrates that the "three-act structure," a concept widely used by practitioners and media commentators, fails to explain how Hollywood stories are put together.Thompson then demonstrates in detail how classical narrative techniques work in ten box-office and critical successes made since the New Hollywood began in the 1970 Tootsie , Back to the Future , The Silence of the Lambs , Groundhog Day , Desperately Seeking Susan , Amadeus , The Hunt for Red October , Parenthood , Alien , and Hannah and Her Sisters . In passing, she suggests reasons for the apparent slump in quality in Hollywood films of the 1990s. The results will be of interest to movie fans, scholars, and film practitioners alike.
Derided as simple, dismissed as inferior to film, characterized as a vast
wasteland, television nonetheless exerts an undeniable, apparently inescapable
power. The secret of television's success may lie in the narrative
complexities underlying its seeming simplicity, complexities the author
unmasks in her analysis here. schovat popis
Written by two leading film scholars, "Film An Introduction" is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling "Film Art", concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.
Film Art. Sztuka filmowa. Wprowadzenie to podręcznik niemalże kultowy, bardzo
często cytowany przez wykładowców wiedzy o filmie na całym świecie. Autorzy
uczą patrzenia na film w sposób całościowy, jako na pewien formalny system,
którego poszczególne elementy, wchodząc ze sobą w relacje i wzajemnie
uzupełniając, składają się na jego artystyczną formę i styl. Aby czytelnik
mógł w pełni docenić artystyczne możliwości, jakie wiążą się z podstawowymi
technikami filmowymi, autorzy skrupulatnie omawiają główne składowe filmu:
metody inscenizacyjne, zdjęcia i pracę kamery, montaż oraz dźwięk. Książka
Bordwella i Thompson pomaga także zrozumieć, w jaki sposób film oddziałuje na
swoich odbiorców i za pomocą jakich technik twórca filmowy osiąga zamierzony
przez siebie efekt. Autorzy dokładnie opisują zarówno zagadnienia związane z
procesem powstawania filmu - kwestie techniczne i produkcyjne - jak i
zagadnienia estetyczne, a swoje rozważania bogato ilustrują kadrami z filmów.
