Read and Download film art an introduction. Written by two of the leading scholars in film studies, Film History: An Introduction is a. Film Art: An Introduction. Kristin Thompson, David Bordwell No.. Editions for Film Art: An Introduction:.
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Also, modern movies are made with television and DVD releases in mind, making camera work focus more on close-ups and a set form of easily partitioned scenes rather than grand-tableau long-shots and theatrically inspired middle shots.
Now I know this, I have better idea of what in mind to look for when sorting out new releases to view. If making an small indie movie is your goal, well, the chapter on the business end of movie making and production will likely put something of a reality check on your ambitions take the time and money you think you will need and double it. I was not yet an avid film students by then, but this book captured my interest so deep as then it made me impatiently waiting for my future film-study classes.
Yet it does encompass that issues from an artsy point of view. This book discusses elements of films e. The vast explanations on every chapters are very informative for freshies in film study as they can understand film and the elements deeper than common viewers.
Their mind will questioned and analyzed the effectiveness and the appropriateness of the elements on films. It was a great companion while I worked trough my weekly film journals. I was first introduced to first edition of the text way back in the late s when it was smaller Anyone with an interest in film or who likes to watch movies with an understanding of the processes that involve filmmaking, will get something from this excellent edition of a text book that has become the staple of film studies in a formal educational setting.
I was first introduced to first edition of the text way back in the late s when it was smaller and contained fewer color pictures.
About letter-size 11 inches by 8 and a half, but with the glossy pages containing a very generous selection of film stills, weighing in at 4 pounds this is more than some of the new laptops , it is substantial but the size makes holding papers in between the pages quite convenient.
Comprehensive in scope, and structured to cover the industry as well as aesthetic concerns of film and newer media developments in video, Film Art is set up in six parts with a total of 12 chapters.
An overview of the major film companies and distributors as well as some perspective on the collaborative creativity involved from many diverse areas such as financing, marketing, and art direction, planning, and others, complete this section.
What holds the viewer interested in Comparative Literature or a Post-Modernist evaluation of Film is primarily attended to in Part Two, Film Form, in which the authors discuss the principles a filmmaker uses to construct a film. There is a breakdown of the structural properties of The Wizard of Oz, as an example, and how the elements used in the movie are designed to create meaning. The authors talk about the films like Citizen Kane and others that manipulate time duration, and causality to create meaning.
My favorite section is Part Three Film Style, because it covers a number of aesthetic elements and gives good examples that exist in current films and examples as well from historical artifacts. The section also discusses camera set ups and how the actor, and virtually everything that the camera sees is part of the mise en scene. My interest is in putting together a complete visual picture and in Chapters 6 and 7 Bordwell and Thompson cover these elements clearly.
This section has the most primal value to the film viewer who ultimately looks to the movie itself when analyzing film. I believe that the visual medium of filmmaking holds the meaning that so much theory attempts to uncover- Bordwell and Thompson seem to be at their strongest when evaluating purely visual value of movies aside from the theory.
The authors talk about how style is plastic to the filmmaker and what it means to the viewer. Again the elusive elements are well highlighted by the authors as they draw on visual examples to make their points.
Part Four, Types of Films, covering Film Genres and Documentary, Experimental, and Animated Films, explicating what Genre is, and how to analyze a genre is a good section for the archivist or one who is interested in classifications. The section covers the Western, Horror, Musical and talks about the ultimate social function of genre. I have turned to this section time and again to get a good understanding of how to think through a movie in terms of lighting, acting, art direction, camera movement, cinematography, direction and other possible discussion points such as political themes, feminist point of view, or even marketing concepts.
Bordwell and Thompson excel in putting forth fine ideas, and generously, for the reader. This chapter also contains facts concerning the Asian market. Page at the end of the book continues this pattern with additional available texts from General through to French and Italian and up to the New Hollywood and Independent Filmmaking, and Contemporary Hong Kong Cinema.
The CD-ROM included covers many films with sample quizzes that allow the viewer to really just dust off his understanding of certain films and get in synch with the lexicon that the authors utilize to communicate film art. This is a great buy for anyone who love movies.
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