MARC Record from marc_columbia

LEADER: 09285cam a2200445 a 4500
001 6289935
005 20200220222145.0
008 060919s2008 maua 001 0 eng
010 $a 2006046880
019 $a144216592
020 $a9780073535067 (pbk. : alk. paper)
020 $a0073535060 (pbk. : alk. paper)
020 $a9780071286442 (pbk. : alk. paper)
020 $a0071286446 (pbk. : alk. paper)
020 $a9780071101592
020 $a0073310271
020 $a9780073310275
035 $a(OCoLC)1126409533
035 $a(OCoLC)on1126409533
035 $a(NNC)6289935
040 $aDLC$cDLC$dIG#$dBAKER$dYDXCP$dBTCTA$dMUQ$dOrLoB-B$dNNC
050 00 $aPN1995$b.B617 2008
082 00 $a791.4301$222
100 1 $aBordwell, David.
245 10 $aFilm art :$ban introduction /$cDavid Bordwell, Kristin Thompson.
250 $a8th ed.
260 $aBoston :$bMcGraw Hill,$cc2008.
300 $axxiii, 505 p. :$bill. (some col.) ;$c28 cm. +$e1 CD-ROM (4 3/4 in.)
500 $aIncludes index.
504 $aIncludes bibliographical references (p. 472-474) and index.
505 00 $gPart 1.$tFilm Art and Filmmaking --$gChapter 1.$tFilm as Art: Creativity, Technology, and Business --$tFilm Artistry in Shadow of a Doubt --$tBox: A Closer Look: Picking out Patterns --$tMechanics of the Movies --$tIllusion Machined --$tMaking the Movie: Film Production --$tThe Scriptwriting and Funding Phase --$tThe Preparation Phase --$tShooting Phase --$tThe Assembly Phase --$tBox: A Closer Look: Some Terms and Roles in Film Production --$tModes of Production --$tLarge-Scale Production --$tExploitation and Independent Production --$tSmall-Scale Production --$tArtistic Implications of Different Modes of Production --$tBox: A Closer Look: Convergences: Film and Video --$tBringing the Film to the Audience: Distribution and Exhibition --$tDistribution: The Center of Power --$tExhibition: Theatrical and Nontheatrical --$tBox: Movies on Screen: A 2004 Profile of Theatrical Exhibition --$tArtistic Implications of Distribution and Exhibition --$tWhere to Go from Here --$tRecommended DVDs --$tRecommended DVD Supplements --$gPart 2.$tFilm Form --$gChapter 2.$tThe Significance of Film Form --$tThe Concept of Form in Film --$tForm as System --$t"Form" Versus "Content" --$tFormal Expectations --$tConventions and Experience --$tForm and Feeling --$tForm and Meaning --$tEvaluation --$tPrinciples of Film Form --$tFunction --$tSimilarity and Repetition --$tDifference and Variation --$tDevelopment --$tUnity and Disunity --$tWhere to Go from Here --$tRecommended DVD Supplements --$gChapter 3.$tNarrative as a Formal System --$tPrinciples of Narrative Construction --$tPlot and Story --$tCause and Effect --$tTime --$tSpace --$tBox: A Closer Look: Playing Games with Story Time --$tOpenings, Closings, and Patterns of Development --$tNarration: The Flow of Story Information --$tRange of Story Information --$tDepth of Story Information --$tThe Narrator --$tSumming Up Narration --$tThe Classical Hollywood Cinema --$tNarrative Form in Citizen Kane --$tOverall Narrative Expectations in Citizen Kane --$tPlot and Story m Citizen Kane --$tCitizen Kane's Causality --$tTime in Citizen Kane --$tMotivation Citizen Kane --$tCitizen Kane's Parallelism --$tPatterns of Plot Development in Citizen Kane --$tNarration in Citizen Kane --$tWhere to Go from Here --$tRecommended DVD Supplements --$gPart 3.$tFilm Style --$gChapter 4.$tThe Shot: Mise-en-Scene --$tWhat Is Mise-en-Scene? --$tAspects of Mise-en-Scene --$tCostume and Makeup --$tLighting --$tStaging: Movement and Performance --$tBox: A Closer Look: The Film Actor's Toolkit --$tPutting It All Together: Mise-en-Scene in Space and Time --$tSpace --$tTime --$tNarrative Functions of Mise-en-Scene in Our Hospitality --$tWhere to Go from Here --$tRecommended DVD Supplements --$gChapter 5.$tThe Shot: Cinematography --$tThe Photographic Image --$tThe Range of Tonalities --$tSpeed of Motion --$tBox-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Rings --$tFraming --$tFrame Dimensions and Shape --$tBox: A Closer Look: Common Aspect Ratios of 35mm Film --$tOnscreen and Offscreen Space --$tAngle, Level, Height, and Distance of Framing --$tThe Mobile Frame --$tDuration of the Image: The Long Take --$tFunctions of the Long Take --$tThe Long Take and the Mobile Frame --$tWhere to Go from Here --$tRecommended DVD Supplements --$gChapter 6.$tThe Relation of Shot to Shot: Editing --$tWhat Is Editing? --$tDimensions of Film Editing --$tGraphic Relations Between Shot A and Shot B --$tRhythmic Relations Between Shot A and Shot B --$tSpatial Relations Between Shot A and Shot B --$tTemporal Relations Between Shot A and Shot B --$tContinuity Editing --$tSpatial Continuity: The 180[Degrees] System --$tContinuity Editing in The Maltese Falcon --$tContinuity Editing: Some Fine Points --$tMore Refinements: Crossing the Axis of Action --$tCrosscutting --$tTemporal Editing: Order, Frequency, and Duration --$tBox: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editing --$tAlternatives to Continuity Editing --$tGraphic and Rhythmic Possibilities --$tSpatial and Temporal Discontinuity --$tFunctions of Discontinuity Editing: October --$tWhere to Go from Here --$tRecommended DVD Supplements --$gChapter 7.$tSound in the Cinema --$tThe Powers of Sound --$tFundamentals of Film Sound --$tPerceptual Properties --$tSelection, Alteration, and Combination --$tDimensions of Film Sound --$tRhythm --$tFidelity --$tSpace --$tBox: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown --$tTime --$tFunctions of Film Sound: A Man Escaped --$tFontaine's Commentary --$tSound Effects and Narration --$tSound Motifs --$tMusic --$tA Sample Sequence --$tWhere to Go from Here --$tRecommended DVD Supplements --$gChapter 8.$tSummary: Style as a Formal System --$tThe Concept of Style --$tStyle and the Filmmaker --$tStyle and the Viewer --$tAnalyzing Film Style --$gStep 1.$tDetermine the Organization Structure --$gStep 2.$tIdentify the Salient Techniques Used --$gStep 3.$tTrace Out Patterns of Techniques --$gStep 4.$tPropose Functions for the Salient Techniques and the Patterns They Form --$tStyle in Citizen Kane --$tWhere to Go from Here --$tRecommended DVD Supplements --$gPart 4.$tTypes of Films --$gChapter 9.$tFilm Genres --$tUnderstanding Genre --$tDefining a Genre --$tAnalyzing a Genre --$tGenre History --$tBox: A Closer Look: A Contemporary Genre: The Crime Thriller --$tThe Social Functions of Genres --$tThree Genres --$tThe Western --$tThe Horror Film --$tThe Musical --$tWhere to Go from Here --$tRecommended DVD Supplements --$gChapter 10.$tDocumentary, Experimental, and Animated Films --$tDocumentary --$tWhat Is a Documentary? --$tTypes Documentary --$tThe Boundaries Between Documentary and Fiction --$tTypes of Form in Documentary Films --$tCategorical Form --$tRhetorical Form --$tExperimental Film --$tTypes of Form in Experimental Films --$tAbstract Form --$tAssociational Form --$tThe Animated Film --$tAn Example of Narrative Animation: Duck Amuck --$tAn Example of Experimental Animation: Fuji --$tWhere to Go from Here --$tRecommended DVD Supplements --$gPart 5.$tCritical Analysis of Films --$gChapter 11.$tFilm Criticism: Critical Analyses --$tThe Classical Narrative Cinema --$tHis Girl Friday --$tNorth by Northwest --$tDo The Right Thing --$tNarrative Alternatives to Classical Filmmaking --$tBreathless (A Bout de Souffle) --$tTokyo Story (Tokyo Monogatari) --$tChungking Express (Chung Hing sam lam) --$tDocumentary Form and Style --$tMan with a Movie Camera (Chelovek s kinoapparatom) --$tThe Thin Blue Line --$tForm, Style, and Ideology --$tMeet Me in St. Louis --$tRaging Bull --$gAppendix.$tWriting a Critical Analysis of a Film --$tPreparing to Write --$gStep 1.$tDevelop a Thesis That Your Essay Will Explain and Support --$gStep 2.$tDraw Up a Segmentation of the Entire Film --$gStep 3.$tNote Outstanding Instances of Film Technique --$tOrganizing and Writing --$tSample Essay: Fantasy and Reality in The King of Comedy --$tWhere to Go from Here --$tSample-Analysis Films on DVD --$gPart 6.$tFilm History --$gChapter 12.$tFilm Art and Film History --$tEarly Cinema (1893-1903) --$tThe Development of the Classical Hollywood Cinema (1908-1927) --$tGerman Expressionism (1919-1926) --$tFrench Impressionism and Surrealism (1918-1930) --$tImpressionism --$tSurrealism --$tSoviet Montage (1924-1930) --$tThe Classical Hollywood Cinema After the Coming of Sound --$tItalian Neorealism (1942-1951) --$tThe French New Wave (1959-1964) --$tThe New Hollywood and Independent Filmmaking --$tContemporary Hong Kong Cinema --$tWhere to Go from Here --$tRecommended DVDs --$tRecommended DVD Supplements.
538 $aSystem requirements for accompanying CD-ROM: IBM-PC or compatible; Window 98 or higher.
650 0 $aMotion pictures$xAesthetics.
650 6 $aCinéma$xEsthétique.
700 1 $aThompson, Kristin,$d1950-
852 00 $bbar$hPN1995$i.B617 2008
852 00 $bmil$hPN1995$i.B617 2008$zAccompanied by CD-ROM
852 00 $bmil$hPN1995$i.B617 2008$zAccomanied by CD-ROM
852 00 $boff,glx$hPN1995$i.B617 2008$zAccompanied by 1 CD-ROM
852 00 $bbar$hPN1995$i.B617 2008