An Introduction to Film StudiesAn 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 |
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Contents
Notes 46 | 3 |
Warner Brothers | 11 |
a US blockbuster production Gladiator Ridley Scott 2000 | 26 |
Film audiences | 33 |
building audiences on the web for The Blair Witch Project | 39 |
contemporary UK Crash David Cronenberg 1996 | 45 |
APPROACHES TO STUDYING FILM TEXTS | 51 |
The reading of film | 59 |
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 |
Narrative | 78 |
Alternative narratives | 84 |
Further viewing | 91 |
What we can learn from Early Cinema | 97 |
The passive spectator | 105 |
pleasure and evaluation Pulp Fiction | 116 |
Mixing approaches | 124 |
corporate authorship lndustrial Light and Magic lLM 148 | 129 |
lntroduction | 130 |
The problems of auteur theory | 137 |
Genre and Hollywood cinema | 151 |
Rethinking genre as metaphor | 162 |
Stars and Hollywood cinema | 169 |
Jodie Foster | 178 |
GENRE FORMS REALISM AND ILLUSION | 185 |
Some developments in nonfiction film | 191 |
Leni Riefenstahl | 197 |
From radical documentary to docusoap and dilemma | 203 |
Ken Burns | 209 |
Early animation | 215 |
animation as a selfreflexive language Girls Night | 221 |
adult animation Ghost in the Shell Mamoru Oshii 1995 | 228 |
Conclusion | 236 |
lntroduction | 242 |
Happy Together Wong Kar Wai 1997 | 304 |
Key texts | 314 |
aspects of British | 321 |
Continental drift | 331 |
Community and nation | 340 |
lntermedial raids and exchanges | 346 |
West End Girls wonderland 1999 and Bridget joness | 352 |
Resource centres | 359 |
Writing on lndian cinema | 366 |
Love story | 372 |
The womans film | 378 |
Lagaan Tax Ashutosh Gowrikar 2001 | 385 |
The Soviet montage cinema of the 1920s | 389 |
Other features of Soviet montage cinema | 397 |
Vsevolod Pudovkin The Mother 1926 The End | 409 |
Esfir Shub The Fall of the Romanov Dynasty 1927 | 415 |
Further reading | 421 |
A bout de souffle Breathless JeanLuc Godard 1960 | 428 |
La Jetee The Pier Chris Marker 1962 | 434 |
JeanLuc Godard | 442 |
Conclusion | 448 |
469 | |
483 | |
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Common terms and phrases
actors aesthetic animation argues artistic audience auteur auteur theory Battleship Potemkin BBFC blockbuster box-office British Film lnstitute Cahiers camera cartoon censorship Chapter characters contemporary conventions courtesy British Film courtesy Kobal Collection critical Crying Game cultural dance sequences directors distribution documentary dominant Eisenstein example feminist film feminist film theory Fight Club film industry film production film studies film theory film-makers film's French New Wave further discussion gender genre Green Goblin Hollywood cinema ibid idea ideological Jean-Luc Godard lesbian lndeed lndian cinema lndian films London look mainstream male marketing masculinity mise-en-scene montage movie MPPC narrative Plate popular cinema Ram Gopal Varma relationship Ridley Scott role scene screen Sergei Eisenstein sexual Sholay shot social song and dance Soviet spectator spectatorship Spider-Man star stardom story style theatre tion viewer visual Warner Wave women