A history of narrative film

목차 (Table of Contents)

• 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$$\aucte E$$LI$$\grave E$$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$$\acute e$$ Fr$$\grave e$$res = 49
• Louis Feuillade and the Rise of Gaumont = 51
• The Soci$$\acute e$$t$$\acute e$$ 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$$\ddot u$$ls = 544
• INFLUENCE OF THE FIFTIES DOCUMENTARY MOVEMENT AND INDEPENDENT PRODUCTION = 547
• THEORY : ASTRUC, BAZIN, AND CAHIERS DU CIN$$\aucte E$$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$$\grave e$$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$$\tidle N$$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$$\acute a$$s Kov$$\acute a$$cs = 702
• Mikl$$\acute o$$s Jancs$$\acute o$$ = 703
• Ga$$\acute a$$l, Szab$$\acute o$$, and M$$\acute e$$sz$$\acute a$$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$$\ddot o$$ndorff, Alexander Kluge, and Margarethe von Trotta = 854
• Rainer Werner Fassbinder = 857
• Werner Herzog = 861
• Wim Wenders = 865
• Hans J$$\ddot u$$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