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Preface
Introduction
Chapter One: Image and Reality
IMAGES OF IMAGES
The “Truth” of the Image
The Urge to Represent “Reality”
Perspective and the Pleasures of Tricking the Eye
Photography and Reality
Manipulation of the Image
Reality as Image
FROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGE
Moving Images
NOTES AND REFERENCES
Chapter Two: Formal Structures: How Films Tell Their Stories
THE IMAGE, THE WORLD, AND THE FILM STUDIO
From Image to Narrative
THE ECONOMICS OF THE IMAGE
The System Develops: Buster Keaton and Charlie Chaplin
The Growth of Corporate Filmmaking
THE CLASSICAL HOLLYWOOD STYLE
Fabricating the Image
The Whole and Its Parts
Making the Parts Invisible
Story, Plot, and Narration
Convention And Consciousness
Notes and References
Chapter Three: Building Blocks I: The Shot
THE SHOT
COMPOSITION: THE SIZE OF THE FRAME
Cinerama
Anamorphic and “Flat” Wide Screen Processes
Loss of Standards
HOW COMPOSITION WORKS
Composition in Early Cinema
D.W. Griffith
The 90-degree Rule
The Studios and the Shot
MISE-EN-SCÈNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULES
MISE-EN-SCÈNE IN STERNBERG, MURNAU, AND HITCHCOCK
ORSON WELLES AND THE REINVENTION OF COMPOSITION
Deep Focus and The Long Take
WORKING AGAINST THE RULES
LIGHTING AND COLOR
COMPOSING IN WIDE SCREEN
THE MOVING CAMERA
NOTES AND REFERENCES
Chapter Four: Building Blocks II: The Cut
THE DEVELOPMENT OF CONTINUITY CUTTING
Griffith and Cutting
Shot/Reverse Shot
Point Of View
Sight Lines
The 180-degree Rule
CONVENTION, CULTURE, RESISTANCE
Gender
Coding
Responses To Conventional Cutting
Eisensteinian Montage
The Narrative of the Classical Style
Avant-Garde Film
Working Creatively Within and Against Conventions
NOTES AND REFERENCES
Chapter Five: The Story Tellers of Film I
COLLABORATION AS CREATIVITYCREATIVE CRAFTSPEOPLE
Cinematographer
Production Designer
Computer Designer
Sound Designers
Editor
Composer
Screenwriter
Actors
Producer
Notes and References
Chapter Six: The Story Tellers of Film II: The Film Director
EUROPEAN ORIGINS
THE BIRTH OF THE AUTEUR
THE AUTEUR THEORY
Robert Altman
Martin Scorsese
Stanley Kubrick
Alfred Hitchcock
WOMEN AUTEURS
Women’s Avant-garde Films
Maya Deren
Alice Guy-Blaché and Lois Weber
Dorothy Arzner
Ida Lupino
Women Filmmakers Today
Julie Dash, Julie Taymor, and Chantal Akerman
THE AUTEUR ABROAD
AUTEURISM TODAY
NOTES AND REFERENCES
Chapter Seven: Film as Cultural Practice
FILM IN THE REALM OF CULTURE
CULTURE AS TEXT
Subcultures
Media and Cultures
The New Web
THEORIES OF CULTURE
The Frankfurt School
The Critique of American Popular Culture
High Culture, Masscult, and Midcult
Walter Benjamin and the Age of Mechanical Reproduction
The Aura of State Intervention
The Birmingham School of Cultural Studies
Reception and Negotiation
Judgment and Values
Intertextuality and Postmodernism
CULTURAL CRITICISM APPLIED TO VERTIGO AND DIE HARD
The Cultural-Technological Mix: Film and Television
Bruce Willis, TV, and Movies
The Actor’s Persona: Bruce Willis and James Stewart
Vertigo and the Culture of the Fifties
The Kinsey Reports
The Vulnerable Male in Film
Postmodern Villains
Ethnicity in Die Hard
The Buddy Film
The End of Redemption
NOTES AND REFERENCES
Chapter Eight: The Stories Told By Film I
MASTER NARRATIVES AND DOMINANT FICTIONS
Closure
The Master and the Dominant
Narrative Constraints
Censorship
GENRE
Subgenres
Genre and Gesture
Generic Origins
Generic Patterns: The Gangster Film
Genre and Narrative Economy
DOCUMENTARY
Newsreels and Television
Early Masters of the Documentary
Dziga Vertov and Esther Shub
Robert Flaherty
Pare Lorentz
Leni Riefenstahl
John Grierson and the British Documentary Movement
World War II
Cinéma Vérité
Television Documentary
THE GENRES OF FICTION FILMS
Melodrama
Broken Blossoms
Now, Voyager
Casablanca
Film Noir
Expressionist Roots of Noir
Hard-Boiled Fiction
The Maltese Falcon
Murder, My Sweet; Double Indemnity; Scarlet Street
Anthony Mann
Noir’s Climax
In A Lonely Place
The Wrong Man
Kiss Me Deadly
Touch of Evil
Noir’s Rebirth
NOTES AND REFERENCES
Chapter Nine: The Stories Told By Film II
OTHER GENRES: THE WESTERN
The Landscape
The Obstacles to Westward Expansion
The Western Star and the Western Director
The Western After the Fifties
SCIENCE FICTION
Fritz Lang’s Metropolis
Alien and Blade Runner
Science Fiction in the Fifties
2001: A Space Odyssey
GENRE RESILIENCE
EUROPEAN AND OTHER CINEMAS
Italian Neorealism
Bicycle Thieves
Neorealism in America
The French New Wave
Jean-Luc Godard
Michelangelo Antonioni
Yasujiro Ozu
DOUGLAS SIRK, RAINER WERNER FASSBINDER, AND TODD HAYNES: ONE GENRE, THREE WAYSThe Filmmakers
The Common Thread
That Heaven Allows and Far From Heaven
Race
Gender
Fassbinder—Ali: Fear Eats the Soul
The Influence of Bertolt Brecht
The Gaze
Fassbinder’s Narrative
Happiness is Not Always Fun
BRIEF CONCLUSIONS
NOTES AND REFERENCES
Glossary
Index
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