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Anatomy of film

Author: Bernard F Dick
Publisher: Boston : Bedford/St. Martins, 2010.
Edition/Format:   Print book : English : 6th edView all editions and formats
Summary:
"Anatomy of Film is a brief, jargon-free text that provides a solid foundation of film fundamentals while offering rich examples from the past and present. Designed to be used in film-as-literature or introduction to film courses in English, film, or communication departments, Anatomy of Film covers all of the essential elements of film."--BOOK JACKET.
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Genre/Form: Motion pictures
Document Type: Book
All Authors / Contributors: Bernard F Dick
ISBN: 9780312487119 0312487118 9780312487119
OCLC Number: 229026489
Description: xiv, 450 pages : illustrations ; 23 cm
Contents: 1. Understanding the medium --
Film as a hybrid art --
The creation of the narrative film --
Narrative film --
Time-space relationships --
Simultaneity in fiction and drama --
Movie time --
The diversity of the medium --
Independent film --
International film --
Examining a film text --
2. Graphics and sound. Graphics --
Logos --
Main titles, credits, precredits, sequences, and end credits --
Opening titles and end titles --
Intertitles --
Subtitles --
Other uses of the printed word --
Sound --
Actual and commentative sound --
Synchronization and asynchronization --
Overlap --
Voice-over narration --
The narrating "I" --
The voice of God --
The epistolary voice --
The subjective voice --
The repetitive voice --
The voice from the machine --
3. Film, space, and mise-en-scène --
The shot --
Close-ups and long shots --
High-angle and low-angle shots --
Subjective camera --
The moving shot --
Zooms and freezes --
Combining shots : the sequence --
The linear sequence --
The associative sequence --
The montage sequence --
From shot to shot --
Cuts --
Transitions --
The fade --
The dissolve --
The form dissolve --
The wipe --
The iris --
Assembling the shots --
Eisenstein's theory of montage --
Continuity editing --
Rhythm --
Time --
Space --
Tone --
Theme --
The role of the editor --
Mise-en-scène --
4. Enhancing the image : color, lighting, and visual effects --
Coloring the image --
The black-and-white film --
The color film --
The visual style of The Hours --
Colorization --
Lighting the image --
Special effects/visual effects (SFX, VFX) --
5. Film genres --
The musical --
The western --
The crime film --
Film noir --
The combat film --
Comedies --
Screwball comedy --
Farce --
Satire --
The reflexive film --
The woman's film --
The documentary --
The horror film --
The science-fiction film --
Understanding genre --
6. Film subtext --
Mythic asśociations --
The transformation myth in Jacques Tourneur's Cat People --
The savior myth in George Stevens's Shane --
Shane as a Christ figure --
Shane as Apollo-Hercules --
Shane as knight-errant --
The War of the Worlds myth the Wachowski Brothers' Matrix Trilogy --
Visual/iconic associations --
Humphrey Bogart as screen icon in Raoul Walsh's High Sierra --
Al Pacino as Christ figure in Sidney Lumet's Serpico --
Jack Nicholson as free spirit and Louise Fletcher as boss lady in Milos̆ Forman's One Flew Over the Cuckoo's Nest --
Barbara Stanwyck as Marlene Dietrich in Billy Wilder's Double Indemnity --
Intellectual associations --
History by suggestion --
Film history by suggestion --
Remaking the original : The Shop Around the Corner, In the Good Old Summertime, You've Got Mail --
Musical associations --
7. The film director --
Auteurism --
Collaboration --
Variety --
Repetition --
Quotations --
Borrowings --
An interview with Billy Wilder --
Three directors on directing --
Edward Dmytryk (on screen directing) --
Sidney Lumet (on making movies) --
David Mamet (on directing films) --
8. Film and literature --
Literary techniques --
The flashback --
The flash-forward --
Point of view --
Omniscient narrator --
Implied author --
Film adaptation --
Adaptation of novels --
Adapting Jan Austen for the screen --
Jane Austen's Emma, Amy Heckerling's Clueless, and Doug McGrath's Emma --
Joe Wright's Pride and Prejudice --
Adapting Virginia Woolf for the screen --
Virginia Woolf's Mrs. Dalloway and Marleen Gorris's Mrs. Dalloway --
Michael Cunningham's The Hours and Stephen Daldry's The Hours --
Adaptations of plays --
Adaptations of short stories --
Daphne du Maurier's "The Birds" and Alfred Hitchcock's The Birds --
Philip K. Dick's "Minority Report" and Steven Spielberg's Minority Report --
Annie Proulx's "Brokeback Mountain" and Ang Lee's Brokeback Mountain --
The nature of screenwriting --
9. Film analysis --
Raging bull (Martin Scorsese, 1980) --
Crouching tiger, hidden dragon (Ang Lee, 2003) --
The passenger (Michelangelo Antonioni, 1975) and Caché (Michael Haneke, 2005) --
Pan's labyrinth (Guillermo del Toro, 2006) --
Analyzing films --
10. Film theory and criticism --
The history of film criticism --
The Russians --
The grammarians --
The apologists --
The realists --
The auteurists --
The mythographers --
The semioticians --
Feminist criticism --
Ideological criticism --
Reception theory --
The reviewers --
Practical criticism : interpreting Citizen Kane --
The film historian --
The auteurist --
The myth critic --
The social historian --
Guidelines for film criticism --
Appendix 1. List of referenced films and directors --
Appendix 2. Writing about film from a student perspective --
Doubles in Psycho --
Novel into film --
The unseen Mrs. Bates and Hitchcock's terrible mothers --
The production history of Psycho --
Appendix 3. Online resources and citation --
Video and DVD rental and purchase --
Ratings --
New films --
Studio web addresses --
Casts, credits, and reviews --
The Library of Congress --
Directors' sites Citing online resources --
Glossary of motion picture terms.
Responsibility: Bernard F. Dick.

Abstract:

This brief, jargon-free introduction to film appreciation and analysis helps students develop a critical awareness of cinema without overwhelming them. Including new features, updated examples and  Read more...

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