Film art: an introduction / David Bordwell, Kristin Thompson. .. To make the blog entries more accessible, this ninth edition has listed relevant URLs in the. Film Art is generously illustrated with frame enlargements that enable . Film art: an introduction / David Bordwell, Kristin Thompsonth ed. p. Film art: an introduction / David Bordwell, Kristin Thompson Bordwell, David 43 editions of this work. Find a specific edition [electronic resource] - 5th ed.
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Film Art: An Introduction by David Bordwell and Kristin Thompson. Film Art about the bookFilm Art: An From Film Art, 9th edition, McGraw-Hill (): – Film art: an introduction. [David Bordwell; Kristin Thompson] -- Film is an art form with a language and an aesthethic all its own. This edition has been. David Bordwell and Kristin Thompson, Film Art: An Introduction. 9th edition. Boston: Film Art: Bill Nichols, Engaging Cinema: An Introduction to Film Studies .
To preserve the atmosphere of the event, Laura has kept the text in its presentational format, and I have included, with minor revisions, my original and campy introduction of her at the keynote banquet.
Oh, you've gotta read Laura Mulvey's essay. It explains how the improvements in technology, along with Kristeva's development of the psychoanalytic approach, opened up filmmaking to political activists working outside the "commercial" industry.
But it's also good at placing the avant-garde movement in historical context because it explains how film practice needs to be more than just "counter-cinema. Yeah, well, who hasn't read that essay? That's in the bag, buddy.
All right, I also need a really strong essay to help me talk about the end of the avant-garde—you know, something that puts the historical movement in a larger theoretical perspective. Got it. Yeah, read Mulvey's essay on narrative closure.
It'll blow you away. You learn how the binary patterns of historical thinking artificially close the narratives of dissenting discourses or subcultures or genders. It's a big, fast, dense essay, but it'll put a lot of theoretical discussions into perspective.
Yes, yes, again, I've got the obvious readings down, bright boy. Let me clarify. I'm trying to write a history of counter-cinema in general, so I need to be sure I'm covering all the major bases. Sure, sure. Most of the chapters contain extended examples that examine film techniques in their contexts. Much of the first half of Chapter 2 is devoted to explaining how the spectator reacts actively to the film, forming expectations, drawing on previous knowledge of conventions, reacting emotionally to what occurs on the screen, interpreting it, and evaluating the whole experience.
The second half of the chapter lays out the principles of film form. It also explains the concept of segmentation, or breaking a film down into parts for the purposes of analysis. All of these concepts will be crucial to the more specific subjects of later chapters. Lecturing On and Discussing Film Form Since it is vital that the students understand the basic concepts in this chapter, it might be valuable to simply go over these in class, giving additional examples.
You might wish to illustrate your lecture with a short film containing a very obvious formal structure. We have included extensive examples from a film that is probably familiar to virtually every student: The Wizard of Oz.
This gives you the option of showing this or another film in your screening for this week. It is best to stick to a fairly simple, straightforward film at this stage; see suggested titles at the end of this section.
The Internet allows us to revive these old pieces. Many of the films are now available on DVD, and we invite students and professors to use these analyses in examining the movies.
Functions of Film Sound: The Prestige dir. Christopher Nolan, In London around , two magicians are locked in desperate competition, each searching for ever more baffling illusions. As they deceive each other and their audiences, the film about them tries to deceive us as well.
The film tries to be as tantalizing as a magic trick, but one that can eventually be explained. As a result, director Christopher Nolan and his screenwriter and brother Jonathan Nolan must both reveal and conceal information.
The film must present us just enough of the story to keep us engaged, while holding back the answers to the puzzles—and sometimes, like a magician, distracting us from what is really going on. Read this essay. An Example of Associational Form: A Movie dir. Bruce Conner, Conner took a comparable approach to filmmaking. He typically used footage from old newsreels, Hollywood movies, soft-core pornography, and the like. By working in the found-footage genre, Conner juxtaposed two shots from widely different sources.
When we see the two shots together, we strive to find some connection between them.
From a series of juxtapositions, our activity can create an overall emotion or concept. An Example of Experimental Animation: Fuji dir.
Robert Breer, Fuji begins without a title or credits, as a bell rings three times over blackness. In the distance, what might be rice paddies slide by.
This shot and most of the rest of the film are accompanied by the clacking, rhythmic sound of a train. More black leader creates a transition to a very different image. Against a white background, two flat shapes, like keystones with rounded corners, alternate frame by frame, one red, the other green.
The effect is a rapid flicker as the two colored shapes drift about the frame in a seemingly random pattern. Another stretch of black introduces a brief, fuzzy shot of a man in a dark suit running across the shot in a strange corridor. A Man Escaped dir. Robert Bresson, The story takes place in France in Fontaine, a Resistance fighter arrested by the Germans, has been put in prison and condemned to die.
But while awaiting his execution, he works at an escape plan, loosening the boards of his cell door and making ropes. Just as he is ready to put his plan in action, a boy named Jost is put into his cell.
Deciding to trust that Jost is not a spy, Fontaine reveals his plan to him, and they are both able to escape. Throughout the film, sound has many important functions. As in all of his films, Bresson emphasizes the sound track, rightly believing that sound may be just as cinematic as images. At certain points in A Man Escaped , Bresson even lets his sound technique dominate the image; throughout the film, we are compelled to listen.
Indeed, Bresson is one of a handful of directors who create a complete interplay between sound and image.
High School dir. Frederick Wiseman,