An edition of Introduction to Film Reader / 3rd Edition
(2004)
Introduction to Film Reader / 3rd Edition
3rd edition
by Drew Casper & Richard Edwards
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Introduction to Film Reader / 3rd Edition
2004, Custom / McGraw-Hill
Paperback
- 3rd edition
007296085X 9780072960853
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Book Details
Table of Contents
1.
Film as Technology, Business, Art/Entertainment and Cultural Product
Page 1
A Survey History of Film Technology compiled by Mary Kearney
Page 5
"The Invention of the Early Years of the Cinema, 1880s-1904" from Film History: An Introduction by David Bordwell & Kristin Thompson
Page 9
"Singin' in the Rain" from Stanley Donen (1983) by Drew Casper
Page 18
Critical Film Analyses
1.
Sunset Boulevard (1950) by Mary Kearney
Page 25
2.
Singin' in the Rain (1952) by Dan Walkup
Page 28
2.
Literary Design
Page 31
Aristotle's Poetics
Page 35
Critical Film Analyses
1.
Mildred Pierce (1945) by Paul N. Reinsch
Page 57
2.
L.A. Confidential (1997) by Christie Milliken
Page 60
3.
The Hours (2002) by Heidi Cooley
Page 62
3.
Performance
Page 65
"What Is Acting?" from Acting in the Cinema by James Naremore
Page 69
"Rhetoric and Expressive Technique" from Acting in the Cinema by James Naremore
Page 74
"A Dream of Passion: The Development of the Method" by Lee Strasberg
Page 89
Critical Film Analyses - Featuring Bette Davis as Case Study
1.
Now, Voyager (1942) by Philantha Kon
Page 95
2.
The Corn is Green (1945) by Jaime Nasser
Page 98
3.
All About Eve (1950) by Mary Kearney
Page 102
4.
The Quiet American (2002) by Paul N. Reinsch
Page 106
4.
Visual Design
Page 109
"Meet Me in St. Louis" from Vincente Minnelli and the Film Musical (1977) by Drew Casper
Page 113
Critical Film Analyses
1.
Rosemary's Baby (1968) by Harmony H. Wu
Page 117
2.
Babette's Feast (1987) by Broderick Fox
Page 120
3.
Est-Ouest (East-West) (1999) by Broderick Fox
Page 122
5.
Composition
Page 129
Critical Film Analyses
1.
How Green Was My Valley (1941) by Philantha Kon
Page 134
2.
The Paradine Case (1947) by Bobby Simmons
Page 137
3.
Days of Heaven (1978) by Peter Britos
Page 141
6.
Temporal Design
Page 145
Two for the Road (1967) from Stanley Donen (1983) by Drew Casper
Page 145
Critical Film Analyses
1.
The Adventures of Robin Hood (1938) by Richard Edwards
Page 149
2.
Bugsy (1991) by Chia-Chi Wu
Page 155
3.
Carlito's Way (1993) by Chia-Chi Wu
Page 159
7.
Sound Design
Page 159
Critical Film Analyses
1.
Captain Blood (1935) by Chia-Chi Wu
Page 163
2.
The Exorcist (1973) by William Whittington
Page 166
3.
All That Jazz (1979) by Shannon Mader
Page 169
4.
Fargo (1997) by William Whittington
Page 172
8.
Modes of Representation: Realism & Formalism
Page 179
Types of Realist/Formalist Filmmaking.
A Dialectic Approach to Film Form from Film Form (1929) by Sergei Eisenstein, Translated by Jay Leyda
Page 187
The Ontology of the Photographic Image from What Is Cinema? (1967) by André Bazin
Page 198
Critical Film Analyses
1.
Oil For the Lamps of China (1935) and Chariots of Fire (1981) by Paul N. Reinsch
Page 202
2.
Sunset Blvd (1950) and Adaptation (2002) by Robert Buerkle
Page 207
9.
The Production Process
Page 213
Production Personnel and Their Functions (explained and defined using the credits of The Sixth Sense) by Robert Buerkle and Paul N. Reinsch
Page 214
Production Personnel by Teams by Robert Buerkle and Paul N. Reinsch
Page 222
Critical Film Analyses
1.
Papillon (1973) by Robert Buerkle
Page 223
2.
Terminator 2: Judgment Day (1991) by William Whittington
Page 227
3.
The Shawshank Redemption (1994) by Chris Cooling
Page 230
10.
Genre: Classical Phase
Page 233
Hollywood Genres (Excerpts) from Hollywood Genres by Thomas Schatz
Page 237
The Genius of the System
Page 246
Film Genres and the Genre Film
Page 267
Hollywood Filmmaking and American Mythmaking
Page 272
1.
The Roaring Twenties (1939) - Gangster Film in Its Classical Phase by Shannon Mader
Page 272
2.
High Sierra (1941) - Gangster Film in Its Classical Phase by Chia-Chi Wu
Page 274
11.
Genre: Postclassical Phase
Page 277
Chinatown and Generic Transformation in Recent American Films by John G. Cawelti
Page 281
The Killing (1956) - Gangster Film in Its Postclassical Phase by Peter Britos
Page 291
12.
Genre: Modernist Phase
Page 295
"Modernism" from Key Concepts in Cinema Studies by Susan Hayward
Page 299
GoodFellas (1990) - Gangster Film in Its Modernist Phase by Shannon Mader
Page 306
13.
Genre: Postmodernist Phase
Page 311
"Postmodernism" from Key Concepts in Cinema Studies by Susan Hayward
Page 315
Miller's Crossing (1990) - Gangster Film in Its Postmodernist Phase by Robert Buerkle
Page 323
14.
Film as "Overdetermined" Art Form/Medium
Page 329
"On Overdetermination" by Angelo Restivo
Page 333
Critical Film Analyses - Featuring the Analysis of Three Westerns
Red River (1948) by Robert Buerkle
Page 334
The Searchers (1956) by Shannon Mader
Page 340
The Wild Bunch (1969) by Mary Kearney
Page 343
15.
Movies and Meaning/Film Criticism
Page 347
Various Types of Academic Criticism and Their Respective Methodologies by Drew Casper, Richard L. Edwards and Mary Kearney
Page 351
The Physical Object
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| May 30, 2022 | Edited by ImportBot | import existing book |
| March 13, 2011 | Edited by AMillarBot | remove edition notes from title (3rd Edition) |
| February 6, 2010 | Edited by WorkBot | add more information to works |
| October 26, 2009 | Created by WorkBot | add works page |