CONTENTS
Preface = xv
Preface to the Second Edition = xvii
Acknowledgments = xix
A Note on Method = xxi
A Note on Supplementary Material = xxi
A Note on the Color Insert = xxiii
A Note on Dates, Titles, and Stills = xxv
1 Origins = 1
OPTICAL PRINCIPLES = 1
SERIES PHOTOGRAPHY = 4
MOTION PICTURES = 5
PROJECTION : EUROPE AND AMERICA = 9
THE EVOLUTION OF NARRATIVE : GEORGES M \aucteE LI E ` S = 14
EDWIN S. PORTER : DEVELOPING A CONCEPT OF CONTINUITY EDITING = 20
2 International Expansion, 1907－1918 = 33
AMERICA = 33
The Early Industrial Production Process = 33
The Motion Picture Patents Company = 36
The Advent of the Feature Film = 39
The Rise of the Star System = 41
The Move to Hollywood = 42
The New Studio Chiefs and Industry Realignment = 43
The "Block Booking" Dispute and the Acquisition of Theaters = 46
The Rise of Hollywood to International Dominance = 47
EXPANSION ON THE CONTINENT = 48
The Empire of Path e ´ Fr e ` res = 49
Louis Feuillade and the Rise of Gaumont = 51
The Soci e ´ t e ´ Film d'Art = 54
The Italian Superspectacle = 57
3 D. W. Griffith and the Consummation of Narrative Form = 61
FORMATIVE INFLUENCES = 62
THE BEGINNING AT BlOGRAPH = 63
INNOVATION, 1908－1909 : INTER－FRAME NARRATIVE = 64
INNOVATION, 1909－1911 : INTRA－FRAME NARRATIVE = 69
GRIFFITH'S DRIVE FOR INCREASED FILM LENGTH = 73
JUDITH OF BETHULIA AND THE MOVE TO MUTUAL = 75
THE BIRTH OF A NATION = 77
Production = 77
Structure = 82
Impact = 92
INTOLERANCE = 94
Production = 94
Structure = 97
Influence and Defects = 99
GRIFFITH AFTER INTOLERANCE = 101
DECLINE = 105
THE IMPORTANCE OF GRIFFITH = 108
4 German Cinema of the Weimar Period, 1919－1929 = 110
THE PREWAR PERIOD = 110
THE WAR YEARS = 112
THE FOUNDING OF UFA = 114
DAS KABINETT DES DR. CALIGARI = 117
THE FLOWERING OF EXPRESSIONISM = 121
Fritz Lang = 121
F. W. Murnau and the Kammerspielfilm = 124
THE PARUFAMET AGREEMENT AND THE MIGRATION TO HOLLYWOOD = 131
G. W. PABST AND "STREET" REALISM = 132
DOWN AND OUT = 137
5 Soviet Silent Cinema and the Theory of Montage, 1917－1931 = 139
THE PREREVOLUTIONARY CINEMA = 139
THE ORIGINS OF THE SOVIET CINEMA = 140
DZIGA VERTOV AND THE KINO－EYE = 142
LEV KULESHOV AND THE KULESHOV WORKSHOP = 144
SERGEI EISENSTEIN = 149
The Formative Years = 150
From Theater to Film = 153
The Production of Battleship Potemkin = 156
The Structure of Potemkin = 158
Eisenstein's Theory of Dialectical Montage = 179
October （Ten Days That Shook the World, 1928） : A Laboratory for Intellectual Montage = 186
Eisenstein after October = 189
VSEVOLOD PUDOVKIN = 192
ALEXANDER DOVZHENKO = 198
OTHER SOVIET FILMMAKERS = 202
SOCIALIST REALISM AND THE DECLINE OF SOVIET CINEMA = 204
6 Hollywood in the Twenties = 207
THOMAS INCE, MACK SENNETT, AND THE STUDIO SYSTEM OF PRODUCTION = 208
CHARLIE CHAPLIN = 211
BUSTER KEATON = 217
HAROLD LLOYD AND OTHERS = 224
HOLLYWOOD SCANDALS AND THE CREATION OF THE MPPDA = 227
CECIL B. DEMILLE = 230
THE "CONTINENTAL TOUCH" : LUBITSCH AND OTHERS = 231
IN THE AMERICAN GRAIN = 234
ERICH VON STROHEIM = 238
7 The Coming of Sound and Color, 1926－1935 = 253
SOUND－ON－DISK = 253
SOUND－ON－FILM = 255
VlTAPHONE = 257
Fox MOVIETONE = 261
THE PROCESS OF CONVERSION = 262
THE INTRODUCTION OF COLOR = 267
PROBLEMS OF EARLY SOUND RECORDING = 275
THE THEORETICAL DEBATE OVER SOUND = 281
THE ADJUSTMENT TO SOUND = 284
8 The Sound Film and the American Studio System = 290
NEW GENRES AND OLD = 290
STUDIO POLITICS AND THE PRODUCTION CODE = 296
THE STRUCTURE OF THE STUDIO SYSTEM = 301
MGM = 302
Paramount = 304
Warner Bros. = 307
20th Century－Fox = 309
RKO = 310
The Minors = 312
"Poverty Row" = 317
MAJOR FIGURES OF THE STUDIO ERA = 319
Josef von Sternberg = 319
John Ford = 324
Howard Hawks = 332
Alfred Hitchcock = 336
George Cukor, William Wyler, and Frank Capra = 354
9 Europe in the Thirties = 361
THE INTERNATIONAL DIFFUSION OF SOUND = 361
BRITAIN = 362
GERMANY = 363
ITALY = 367
THE SOVIET UNION = 368
FRANCE = 377
Avant－Garde Impressionism, 1921－1929 = 377
The "Second" Avant－Garde = 383
Sound, 1929－1934 = 388
Poetic Realism, 1934－1940 = 392
Jean Renoir = 396
10 Orson Welles and the Modern Sound Film = 407
CITIZEN KANE = 408
Production = 408
Structure = 413
Influence = 425
WELLES AFTER KANE = 427
11 Wartime and Postwar Cinema : Italy and America, 1940－1951 = 437
THE EFFECTS OF WAR = 437
ITALY = 438
The Italian Cinema Before Neorealism = 438
The Foundations of Neorealism = 438
Neorealism : Major Figures and Films = 443
The Decline of Neorealism = 453
The Impact of Neorealism = 454
AMERICA = 456
Hollywood at War = 456
The Postwar Boom = 461
POSTWAR GENRES IN AMERICA = 464
"Social－Consciousness" Films and Semidocumentary Melodramas = 464
Film Noir = 467
The Witch－Hunt and the Blacklist = 471
The Arrival of Television = 477
12 Hollywood, 1952－1965 = 480
THE CONVERSION TO COLOR = 480
WIDESCREEN AND 3－D = 482
Multiple－Camera Projector Widescreen : Cinerama = 482
Depth : Stereoscopic 3－D = 484
The Anamorphic Widescreen Processes = 488
The Nonanamorphic, or Wide－Film, Widescreen Processes = 492
Adjusting to Widescreen = 494
The Widescreen "Blockbuster" = 497
American Directors in the Early Widescreen Age = 498
FIFTIES GENRES = 506
The Musical = 506
Comedy = 508
The Western = 511
The Gangster Film and the Anticommunist Film = 514
Science Fiction = 518
The "Small Film" : American Kammerspiel = 530
INDEPENDENT PRODUCTION AND THE DECLINE OF THE STUDIO SYSTEM = 531
THE SCRAPPING OF THE PRODUCTION CODE = 535
13 The French New Wave and Its Native Context = 538
THE OCCUPATION AND POSTWAR CINEMA = 538
Robert Bresson and Jacques Tati = 542
Max Oph u ·· ls = 544
INFLUENCE OF THE FIFTIES DOCUMENTARY MOVEMENT AND INDEPENDENT PRODUCTION = 547
THEORY : ASTRUC, BAZIN, AND CAHIERS DU CIN \aucteE MA = 550
THE NEW WAVE : FIRST FILMS = 553
THE NEW WAVE : ORIGINS OF STYLE = 557
MAJOR NEW WAVE FIGURES = 558
Francois Truffaut = 559
Jean－Luc Godard = 564
Alain Resnais = 570
Claude Chabrol = 573
Louis Malle = 575
Eric Rohmer and Jacques Rivette = 576
Agn e ` s Varda, Jacques Demy, and Others = 579
THE SIGNIFICANCE OF THE NEW WAVE = 587
14 New Cinemas in Britain and the English－Speaking Commonwealth = 589
GREAT BRITAIN = 589
Postwar British Cinema and Its Context = 589
The Free Cinema Movement = 592
The New Cinema, or Social Realism = 593
The End of Social Realism and Beyond = 599
AUSTRALIA AND NEW ZEALAND = 608
CANADA = 616
15 European Renaissance : West = 622
THE SECOND ITALIAN FILM RENAISSANCE = 622
Federico Fellini = 622
Michelangelo Antonioni = 627
Olmi, Pasolini, and Bertolucci = 631
Other Italian Auteurs = 635
CONTEMPORARY WIDESCREEN TECHNOLOGIES AND STYLES = 642
INGMAR BERGMAN = 646
LUIS BU \tidleN UEL = 655
16 European Renaissance : East = 666
POLAND = 667
The Polish School = 667
The Second Generation = 673
The Third Polish Cinema = 676
Solidarity and the Polish Cinema = 679
CZECHOSLOVAKIA = 684
The Postwar Period = 684
The Czech New Wave = 687
"Banned Forever" = 697
HUNGARY = 699
Three Revolutions = 699
Andr a ´ s Kov a ´ cs = 702
Mikl o ´ s Jancs o ´ = 703
Ga a ´ l, Szab o ´ , and M e ´ sz a ´ ros = 707
Other Hungarian Directors = 712
YUGOSLAVIA = 724
Partisan Cinema and Nationalist Realism = 725
Novi Film = 728
The "Prague Group" = 732
BULGARIA = 738
ROMANIA = 751
OTHER BALKAN COUNTRIES = 756
THE SOVIET UNION = 759
Stalinist Cinema = 759
Cinema During the Khrushchev Thaw = 761
Sergei Parajanov and Shadows of Forgotten Ancestors = 765
Cinema Under Brezhnev = 768
Contemporary Trends = 773
17 Wind from the East : Japan, India, and China = 778
JAPAN = 778
The Early Years = 778
Sound = 780
War = 781
Occupation = 783
Rashomon, Kurosawa, and the Postwar Renaissance = 784
Kenji Mizoguchi = 792
Yasujiro Ozu and the Use ot Off－Screen Space = 794
The Second Postwar Generation = 799
The Japanese New Wave = 801
Japanese Filmmaking After the New Wave = 806
Decline of the Studios = 808
INDIA = 810
Satyajit Ray = 812
Parallel Cinema = 813
CHINA = 816
The People's Republic of China = 816
Hong Kong = 819
Taiwan = 821
18 The Seventies and the Eighties : Colonies of the Mind and Heart = 822
THIRD WORLD CINEMA = 822
LATIN AMERICA = 823
Mexico = 826
Brazil = 828
Argentina = 831
Bolivia, Peru, and Chile = 834
Venezuela, Colombia, and Central America = 838
CUBA AND THE NEW LATIN AMERICAN CINEMA = 840
AFRICA = 845
GERMANY : DAS NEUE KINO = 850
Postwar Origins = 850
Young German Cinema = 851
The New German Cinema = 852
Volker Schl o ·· ndorff, Alexander Kluge, and Margarethe von Trotta = 854
Rainer Werner Fassbinder = 857
Werner Herzog = 861
Wim Wenders = 865
Hans J u ·· rgen Syberberg and Others = 867
Jean－Marie Straub and Marxist Aesthetics = 870
HOLLYWOOD, 1965－1970 = 874
The New American Cinema: The Impact of Bonnie and Clyde = 877
2001 : A Space Odyssey = 880
The Wild Bunch : ˝Zapping the Cong˝ = 882
End of a Dream = 885
HOLLYWOOD IN THE SEVENTIES AND EIGHTIES = 887
Inflation and Conglomeration = 887
New Filmmakers of the Seventies = 890
The American Film Industry in the Age of ˝Kidpix˝ = 895
The Effects of Video = 898
Colorization Technology and Film History = 902
THE SHAPE OF THE FUTURE = 904
Glossary = 907
Selective Bibliography = 925
Index = 947
