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Film art : an introduction / 8th ed

Film art : an introduction / 8th ed (9회 대출)

Bordwell, David. Thompson, Kristin, 1950-.
서명 / 저자사항
Film art : an introduction / David Bordwell, Kristin Thompson.
8th ed.
Boston :   McGraw Hill,   c2008.  
xxiii, 505 p. : ill. (some col.) ; 28 cm.+ 1 CD-ROM (4 3/4 in.).
9780073535067 (pbk. : alk. paper) 0073535060 (pbk. : alk. paper)
Includes bibliographical references and index.
Motion pictures --Aesthetics.
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020 ▼a 9780073535067 (pbk. : alk. paper)
020 ▼a 0073535060 (pbk. : alk. paper)
035 ▼a (KERIS)BIB000010789175
040 ▼a DLC ▼c DLC ▼d 221016 ▼d 244002 ▼d 211009
050 0 0 ▼a PN1995 ▼b .B617 2008
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090 ▼a 791.4301 ▼b B729f8
100 1 ▼a Bordwell, David.
245 1 0 ▼a Film art : ▼b an introduction / ▼c David Bordwell, Kristin Thompson.
250 ▼a 8th ed.
260 ▼a Boston : ▼b McGraw Hill, ▼c c2008.
300 ▼a xxiii, 505 p. : ▼b ill. (some col.) ; ▼c 28 cm.+ ▼e 1 CD-ROM (4 3/4 in.).
504 ▼a Includes bibliographical references and index.
650 0 ▼a Motion pictures ▼x Aesthetics.
700 1 ▼a Thompson, Kristin, ▼d 1950-.

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데이비드 보드웰(지은이)

아이오와 대학교에서 영화학 석사와 박사 학위를 받았다. 2019년 현재 위스콘신-매디슨 대학교 커뮤니케이션 예술과의 영화 연구 전공 명예교수이다. 국내에 번역된 저서로는 크리스틴 톰슨과 함께 공동 집필한 『영화 예술』, 『Film History』를 비롯하여 『세계영화사 1, 2, 3』, 『영화의 내레이션 1, 2』, 『영화 스타일의 역사』 등이 있다. 블로그 [영화 예술에 관한 관찰 Observation on film art]을 운영하고 있다. www.davidbordwell.net/blog

정보제공 : Aladin


Preface	p. xvii
Part 1	Film Art and Filmmaking	
Chapter 1	    Film as Art: Creativity, Technology, and Business	p. 2
        Film Artistry in Shadow of a Doubt	p. 3
        Box: A Closer Look: Picking out Patterns	p. 8
        Mechanics of the Movies	p. 10
            Illusion Machined	p. 10
        Making the Movie: Film Production	p. 14
            The Scriptwriting and Funding Phase	p. 15
            The Preparation Phase	p. 16
            Shooting Phase	p. 17
            The Assembly Phase	p. 21
        Box: A Closer Look: Some Terms and Roles in Film Production	p. 22
            Artistic Implications of the Production Process	p. 25
        Modes of Production	p. 25
            Large-Scale Production	p. 25
            Exploitation and Independent Production	p. 26
            Small-Scale Production	p. 28
            Artistic Implications of Different Modes of Production	p. 29
        Box: A Closer Look: Convergences: Film and Video	p. 30
        Bringing the Film to the Audience: Distribution and Exhibition	p. 34
            Distribution: The Center of Power	p. 34
            Exhibition: Theatrical and Nontheatrical	p. 39
        Box: Movies on Screen: A 2004 Profile of Theatrical Exhibition	p. 41
            Artistic Implications of Distribution and Exhibition	p. 42
        Summary	p. 47
        Where to Go from Here	p. 47
        Websites	p. 50
        Recommended DVDs	p. 50
        Recommended DVD Supplements	p. 50
Part 2	Film Form	
Chapter 2	    The Significance of Film Form	p. 54
        The Concept of Form in Film	p. 54
            Form as System	p. 54
            "Form" Versus "Content"	p. 56
            Formal Expectations	p. 56
            Conventions and Experience	p. 58
            Form and Feeling	p. 59
            Form and Meaning	p. 60
            Evaluation	p. 63
        Principles of Film Form	p. 65
            Function	p. 65
            Similarity and Repetition	p. 66
            Difference and Variation	p. 67
            Development	p. 68
            Unity and Disunity	p. 70
        Summary	p. 71
        Where to Go from Here	p. 72
        Websites	p. 73
        Recommended DVD Supplements	p. 73
Chapter 3	    Narrative as a Formal System	p. 74
        Principles of Narrative Construction	p. 74
            Plot and Story	p. 76
            Cause and Effect	p. 77
            Time	p. 80
            Space	p. 82
        Box: A Closer Look: Playing Games with Story Time	p. 83
            Openings, Closings, and Patterns of Development	p. 86
        Narration: The Flow of Story Information	p. 88
            Range of Story Information	p. 88
            Depth of Story Information	p. 90
            The Narrator	p. 92
            Summing Up Narration	p. 93
        The Classical Hollywood Cinema	p. 94
        Narrative Form in Citizen Kane	p. 96
            Overall Narrative Expectations in Citizen Kane	p. 96
            Plot and Story m Citizen Kane	p. 97
            Citizen Kane''s Causality	p. 99
            Time in Citizen Kane	p. 99
            Motivation Citizen Kane	p. 102
            Citizen Kane''s Parallelism	p. 103
            Patterns of Plot Development in Citizen Kane	p. 103
            Narration in Citizen Kane	p. 104
        Summary	p. 107
        Where to Go from Here	p. 107
        Websites	p. 109
        Recommended DVD Supplements	p. 109
Part 3	Film Style	
Chapter 4	    The Shot: Mise-en-Scene	p. 112
        What Is Mise-en-Scene?	p. 112
        Aspects of Mise-en-Scene	p. 115
            Setting	p. 115
            Costume and Makeup	p. 119
            Lighting	p. 124
            Staging: Movement and Performance	p. 132
        Box: A Closer Look: The Film Actor''s Toolkit	p. 134
        Putting It All Together: Mise-en-Scene in Space and Time	p. 140
            Space	p. 142
            Time	p. 149
        Narrative Functions of Mise-en-Scene in Our Hospitality	p. 153
        Summary	p. 158
        Where to Go from Here	p. 158
        Websites	p. 160
        Recommended DVD Supplements	p. 160
Chapter 5	    The Shot: Cinematography	p. 162
        The Photographic Image	p. 162
            The Range of Tonalities	p. 162
            Speed of Motion	p. 166
            Perspective	p. 168
        Box-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Rings	p. 179
        Framing	p. 182
            Frame Dimensions and Shape	p. 183
        Box: A Closer Look: Common Aspect Ratios of 35mm Film	p. 184
            Onscreen and Offscreen Space	p. 187
            Angle, Level, Height, and Distance of Framing	p. 190
            The Mobile Frame	p. 194
        Duration of the Image: The Long Take	p. 207
            Functions of the Long Take	p. 208
            The Long Take and the Mobile Frame	p. 210
        Summary	p. 214
        Where to Go from Here	p. 214
        Websites	p. 216
        Recommended DVD Supplements	p. 216
Chapter 6	    The Relation of Shot to Shot: Editing	p. 218
        What Is Editing?	p. 218
        Dimensions of Film Editing	p. 220
            Graphic Relations Between Shot A and Shot B	p. 221
            Rhythmic Relations Between Shot A and Shot B	p. 226
            Spatial Relations Between Shot A and Shot B	p. 227
            Temporal Relations Between Shot A and Shot B	p. 229
        Continuity Editing	p. 231
            Spatial Continuity: The 180[Degrees] System	p. 231
            Continuity Editing in The Maltese Falcon	p. 234
            Continuity Editing: Some Fine Points	p. 238
            More Refinements: Crossing the Axis of Action	p. 242
            Crosscutting	p. 244
            Temporal Editing: Order, Frequency, and Duration	p. 245
        Box: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editing	p. 246
        Alternatives to Continuity Editing	p. 251
            Graphic and Rhythmic Possibilities	p. 251
            Spatial and Temporal Discontinuity	p. 252
            Functions of Discontinuity Editing: October	p. 257
        Summary	p. 260
        Where to Go from Here	p. 261
        Websites	p. 263
        Recommended DVD Supplements	p. 263
Chapter 7	    Sound in the Cinema	p. 264
        The Powers of Sound	p. 265
        Fundamentals of Film Sound	p. 267
            Perceptual Properties	p. 267
            Selection, Alteration, and Combination	p. 268
        Dimensions of Film Sound	p. 275
            Rhythm	p. 275
            Fidelity	p. 278
            Space	p. 278
        Box: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown	p. 280
            Time	p. 287
        Functions of Film Sound: A Man Escaped	p. 293
            Fontaine''s Commentary	p. 293
            Sound Effects and Narration	p. 294
            Sound Motifs	p. 295
            Music	p. 296
            A Sample Sequence	p. 296
        Summary	p. 300
        Where to Go from Here	p. 301
        Websites	p. 303
        Recommended DVD Supplements	p. 303
Chapter 8	    Summary: Style as a Formal System	p. 304
        The Concept of Style	p. 304
            Style and the Filmmaker	p. 304
            Style and the Viewer	p. 305
        Analyzing Film Style	p. 306
Step 1	            Determine the Organization Structure	p. 306
Step 2	            Identify the Salient Techniques Used	p. 306
Step 3	            Trace Out Patterns of Techniques	p. 307
Step 4	            Propose Functions for the Salient Techniques and the Patterns They Form	p. 308
        Style in Citizen Kane	p. 309
        Summary	p. 316
        Where to Go from Here	p. 316
        Recommended DVD Supplements	p. 316
Part 4	Types of Films	
Chapter 9	    Film Genres	p. 318
        Understanding Genre	p. 318
            Defining a Genre	p. 318
            Analyzing a Genre	p. 320
            Genre History	p. 321
        Box: A Closer Look: A Contemporary Genre: The Crime Thriller	p. 322
            The Social Functions of Genres	p. 326
        Three Genres	p. 328
            The Western	p. 328
            The Horror Film	p. 329
            The Musical	p. 332
        Summary	p. 336
        Where to Go from Here	p. 336
        Websites	p. 337
        Recommended DVD Supplements	p. 337
Chapter 10	    Documentary, Experimental, and Animated Films	p. 338
        Documentary	p. 338
            What Is a Documentary?	p. 338
            Types Documentary	p. 340
            The Boundaries Between Documentary and Fiction	p. 341
            Types of Form in Documentary Films	p. 342
            Categorical Form	p. 343
            Rhetorical Form	p. 348
        Experimental Film	p. 355
            Types of Form in Experimental Films	p. 356
            Abstract Form	p. 356
            Associational Form	p. 363
        The Animated Film	p. 370
            An Example of Narrative Animation: Duck Amuck	p. 373
            An Example of Experimental Animation: Fuji	p. 375
        Summary	p. 378
        Where to Go from Here	p. 378
        Websites	p. 380
        Recommended DVD Supplements	p. 381
Part 5	Critical Analysis of Films	
Chapter 11	    Film Criticism: Critical Analyses	p. 384
        The Classical Narrative Cinema	p. 385
            His Girl Friday	p. 385
            North by Northwest	p. 388
            Do The Right Thing	p. 392
        Narrative Alternatives to Classical Filmmaking	p. 397
            Breathless (A Bout de Souffle)	p. 397
            Tokyo Story (Tokyo Monogatari)	p. 401
            Chungking Express (Chung Hing sam lam)	p. 405
        Documentary Form and Style	p. 410
            Man with a Movie Camera (Chelovek s kinoapparatom)	p. 410
            The Thin Blue Line	p. 413
        Form, Style, and Ideology	p. 419
            Meet Me in St. Louis	p. 419
            Raging Bull	p. 426
Appendix	    Writing a Critical Analysis of a Film	p. 431
        Preparing to Write	p. 431
Step 1	            Develop a Thesis That Your Essay Will Explain and Support	p. 431
Step 2	            Draw Up a Segmentation of the Entire Film	p. 431
Step 3	            Note Outstanding Instances of Film Technique	p. 432
        Organizing and Writing	p. 433
        Summary	p. 434
        Sample Essay: Fantasy and Reality in The King of Comedy	p. 435
        Where to Go from Here	p. 437
        Sample-Analysis Films on DVD	p. 438
Part 6	Film History	
Chapter 12	    Film Art and Film History	p. 440
        Early Cinema (1893-1903)	p. 441
        The Development of the Classical Hollywood Cinema (1908-1927)	p. 444
        German Expressionism (1919-1926)	p. 447
        French Impressionism and Surrealism (1918-1930)	p. 450
            Impressionism	p. 450
            Surrealism	p. 452
        Soviet Montage (1924-1930)	p. 453
        The Classical Hollywood Cinema After the Coming of Sound	p. 456
        Italian Neorealism (1942-1951)	p. 459
        The French New Wave (1959-1964)	p. 461
        The New Hollywood and Independent Filmmaking	p. 463
        Contemporary Hong Kong Cinema	p. 468
        Where to Go from Here	p. 472
        Recommended DVDs	p. 474
Recommended DVD Supplements	p. 476
Glossary	p. 477
Credits	p. 482
Index	p. 483

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