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Acknowledgements x
Introduction 1
British film history: new perspectives 2
Why do you make films? 4
What a Carve Up! 6
Codes 9
Film language 9
Against Interpretation 10
How to Read a Film 1
How to Read a Film 12
Notes on sound 14
Teaching Analysis of Film Language 15
Manual of Film Editing 21
Film Form and Culture 25
Production 28
Trash, art and the movies 29
Dark Eye: The Films of David Fincher 32
Fight Club 40
On Directing Film 43
Film Art: An Introduction 48
A cry in the dark 52
Future Noir: The Making of Blade Runner 54
Narrative 58
Introduction to the structural analysis of narratives 58
Narrative, Comprehension and Film 61
Film Art: An Introduction 66
Realism and Tinsel 69
Why do you make films? 72
Canon 79
Key Film Texts 81
Sight and Soundten-yearly polls 1952-2002 83
Millennium masterworks: Citizen Kane 87
'What will be the ultimate film?' 91
Why do some films survive and others disappear? 95
Concepts 97
Genre 97
Media Studies: The Essential Introduction 97
The notion of genre 101
Genre and Hollywood 103
Filmsite 120
http://www.aber.ac.uk/media/Documents/intgenre/ intgenre5.html 23
Entertainment and Utopia 125
Film noir introduction 135
Notes on film noir 144
The terror of pleasure 155
Auteur 160
Against Interpretation 161
Wikipedia Internet Encyclopedia: Auteur theory 163
An Introduction to Film Studies 164
Signs and Meaning in the Cinema 168
How Movies Work 173
Film as Film 176
Star 180
Stars as cinematic phenomenon 181
Star studies 182
Stars 189
Spectacular Bodies 192
Hollywood Economics: How Extreme Uncertainty Shapes the Film Industry 196
Hollywood Babylon II 200
Realism 203
Key Terms in Cinema Studies 204
An aesthetic of reality: neorealism 207
The question of realism 208
Realism in the Cinema 209
The totalising quest for meaning 212
Realism and Popular Cinema 215
Cinema and Cultural Modernity 219
Contexts 221
9 Themes of textual analysis 221
The Films of John Ford 226
The skeptical eye 228
Notes on narrative aspects of the new Hollywood blockbuster 231
City of God 236
Exorcist - the beginning 238
Adolescence both savage and innocent 239
Theoretical perspectives 241
Lights, camera, action: Marxism, semiotics, narratology 241
Introduction to Theories of Popular Culture 247
A Spanish Labyrinth: The Films of Pedro Almodovar 249
The Eyes of Laura Mulvey: Subjects, Objects and Cinematic Pleasures 255
Postcolonialism and cinema: from difference to relationships 263
Towards a non-bourgeois camera style 268
Industry 270
The Genius of the System 271
The Dialectic of Enlightenment 273
Film as Social Practice 274
Holy commodity fetish Batman! 276
High Concept 278
The Chronic Crisis of British Cinema 281
Audience 285
All Time World Box Office 285
Screaming for release 287
Film As Social Practice 302
The best place to see a film 305
Global Television and Film: An Introduction to the Economics of the Business 314
Cinemas 323
Hollywood 323
Hollywood Cinema 324
Narrative and the spectacular Hollywood blockbuster 329
BBC News 20 October 2005: Countries turn backs on Hollywood 342
British cinema 344
Nul Britannia 345
Sex, Class and Realism 348
Grim realities 352
Re-presenting the national past: nostalgia and pastiche in the Heritage film 353
From underworld to underclass 360
University of Glasgow Media website: Tartanry 365
National cinemas (or world cinema exploded) 368
The concept of national cinema 369
Contemporary Spanish Cinema 372
Weimar Cinema and After 373
The montage of film attractions 375
What is Neorealism? 379
That breathless moment 382
Hong Kong Cinema: The Extra Dimensions 389
The Japanese Film: Art and Industry 391
Alternative takes 393
Godard interviewed by Henri Behar at the 1995 Montreal Film Festival 394
Review of Godard's Every Man for Himself 395
Derek Jarman 398
My Last Breath 403
Un Chien Andalou - original shooting script 404
The Discreet Art of Luis Bunuel 407
Dali and un chien andalou: the nature of a collaboration 408
Foreword to New Readings 409
References 411
Index 415
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Norman Hew-shue
reviewed Film Studies: The Essential Resource on February 23, 2018
Film Studies: The Essential Resource
This title by Johnathan Rosenbaum ostensibly covers the importance of film canons by using a collection of his essays from the Chicago Reader compiled in a manner to support this argument. If one were to judge the quality of this book on these standards, I would say this book fails. However, this book is teeming with insight and knowledge of cinema in a way that only Rosenbaum can provide.
The reading is sectioned off in five parts, classics, special problems, other canons, disputable contenders and filmmakers. For the committed reader, or one who has completely bought into the premise, it's very possible to weave together the argument from these sections, however vague it maybe, however what really stands out is his eagerness to draw attention to Films and Filmmakers that may not have gotten the attention that they have deserved. Such filmmakers would be Charles Brunett, Joris Ivens, Hou Hsia-hsien, Abbas Kiarostami, Edward Yang and many others. It's clear that he mentions these films by these filmmakers in order to illustrate the importance of film canonization. These are films that generally have a hard time making their way to states for one reason or another. (a problem he attributes mainly to studio interference, and media bias) Canonization protects these films from complete obscurity by grouping them with other films that may be more accessible to the average film lover.
He also covers more well known artists as Orson Welles, Fritz Lang, Stanley Kubrick, Alfred Hitchcock, Robert Bresson and many others, but it's done in a way that also ties in with the general theme of the book. He generally speaks on how they struggled to maintain the artistic integrity of their works, often in vain and what's produced to the audiences is a lot of times just a variation of what was originally intended. One can piece together from this that he may be suggesting under film canons that these blunders may also may be brought to light.
The reading starts off innocently enough, but it suffers, at least in my opinion of being overly informative. I would compare it to having a friend whose "too" knowledgeable on a given subject, and in his eagerness to explain it to anyone who will listen, he bombards you with the information that you're a kind enough friend to listen to. The positive behind that though, is its almost impossible to walk away without gaining some perspective yourself, even if some of it was lost.
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Add Film Studies: The Essential Resource, Bringing together a wide array of accessible and contemporary source material, Film Studies is the ideal companion for students studying film studies at university and pre-university level. From printed media to the views of actual individuals i, Film Studies: The Essential Resource to the inventory that you are selling on WonderClubX
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Add Film Studies: The Essential Resource, Bringing together a wide array of accessible and contemporary source material, Film Studies is the ideal companion for students studying film studies at university and pre-university level. From printed media to the views of actual individuals i, Film Studies: The Essential Resource to your collection on WonderClub |