A history of narrative film

목차 (Table of Contents)

• CONTENTS
• Preface = xvii
• Preface to the Third Edition = xix
• Acknowledgments = xxi
• Note on Method = xxiii
• A Note on Supplementary Material = xxiii
• A Note on Dates, Titles, and Stills = xxv
• 1 Origins = 1
• OPTICAL PRINCIPLES = 1
• SERIES PHOTOGRAPHY = 3
• MOTION PICTURES = 5
• PROJECTION : EUROPE AND AMERICA = 9
• THE EVOLUTION OF NARRATIVE : GEORGES M$$\acute E$$LI$$\grave e$$S = 13
• EDWIN S. PORTER : DEVELOPING A CONCEPT OF CONTINUITY EDITING = 20
• 2 International Expansion, 1907­1918 = 32
• THE UNITED STATES = 32
• The Early Industrial Production Process = 32
• The Motion Picture Patents Company = 35
• The Advent of the Feature Film = 38
• The Rise of the Star System = 40
• The Move to Hollywood = 41
• The New Studio Chiefs and Industry Realignment = 42
• The "Block Booking" Dispute and the Acquisition of Theaters = 44
• The Rise of Hollywood to International Dominance = 46
• EXPANSION ON THE CONTINENT = 47
• The Empire of Path$$\acute e$$ Fr$$\grave e$$res = 47
• Louis Feuillade and the Rise of Gaumont = 49
• The Soci$$\acute e$$t$$\acute e$$ Film d'Art = 52
• The Italian Superspectacle = 55
• 3 D. W. Griffith and the Development of Narrative Form = 59
• FORMATIVE INFLUENCES = 60
• THE BEGINNING AT BIOGRAPH = 61
• INNOVATION, 1908­1909 : INTERFRAME NARRATIVE = 62
• INNOVATION, 1909­1911 : INTERFRAME NARRATIVE = 67
• GRIFFITH'S DRIVE FOR INCREASED FILM LENGTH = 70
• JUDITH OF BETHULIA AND THE MOVE TO MUTUAL = 72
• THE BIRTH OF A NATION = 75
• Production = 75
• Structure = 79
• Impact = 85
• INTOLERANCE = 87
• Production = 87
• Structure = 90
• Influence and Defects = 91
• GRIFFITH AFTER INTOLERANCE = 94
• DECLINE = 98
• THE IMPORTANCE OF GRIFFITH = 101
• 4 German Cinema of the Weimar Period. 1919­1929 = 102
• THE PREWAR PERIOD = 102
• THE WAR YEARS = 104
• The Scandinavian Influence = 104
• THE FOUNDING OF UFA = 106
• DAS KABINETT EDS DR. CALIGARI = 109
• THE FLOWERING OF EXPRESSIONISM = 112
• Fritz Lang = 113
• F. W. Murnau and the Karmmerspielfilm = 115
• THE PARUFAMET AGREEMENT AND THE MIGRATION TO HOLLYWOOD = 122
• G. W. PAST AND STREET REALISM = 123
• DOWN AND OUT = 127
• 5 Soviet Silent Cinema and the Theory of Montage, 1917­1931 = 130
• THE PREREVOLUTIONARY CINEMA = 130
• THE ORIGINS OF THE SOVIET CINEMA = 131
• DZIGA VERTOV AND THE KINO­EYE = 133
• LEV KULESHOV AND THE KULESHOV WORKSHOP = 135
• SERGEI EISENSTEIN = 140
• The Formative Years = 141
• From Theater to Film = 144
• The Production of Battleship Potemkin = 147
• The structure of Potemkin = 148
• Eisenstein's Theory of Dialectical Montage = 169
• October （Ten Days That Shook the World, 1928） : A Laboratory for Intellectual Montage = 175
• Eisenstein after October = 178
• VSEVOLOD PUDOVKIN = 181
• ALEXANDER DOVZHENKO = 186
• OTHER SOVIET FILMMAKERS = 190
• SOCIALIST REALISM AND THE DECLINE OF SOVIET CINEMA = 193
• 6 Hollywood in the Twenties = 196
• THOMAS INCE, MACK SENNETT, AND THE STUDIO SYSTEM OF PRODUCTION = 197
• CHARLIE CHAPLIN = 200
• BUSTER KEATON = 205
• HAROLD LLOYD AND OTHERS = 212
• HOLLYWOOD SCANDALS AND THE CREATION OF THE MPPDA = 214
• CECIL B. DEMILLE = 217
• THE "CONTINENTAL TOUCH" : LUBITSCH AND OTHERS = 218
• IN THE AMERICAN GRAIN = 221
• ERICH VON STROHEIM = 225
• 7 The Coming of Sound and Color, 1926­1935 = 239
• SOUND­ON­DlSC = 239
• SOUND­ON­FILM = 241
• VITAPHONE = 243
• FOX MOVIETONE = 246
• THE PROCESS OF CONVERSION = 248
• THE INTRODUCTION OF COLOR = 252
• PROBLEMS OF EARLY SOUND RECORDING = 260
• THE THEORETICAL DEBATE OVER SOUND = 265
• THE ADJUSTMENT TO SOUND = 268
• 8 The Sound Film and the American Studio System = 274
• NEW GENRES AND OLD = 274
• STUDIO POLITICS AND THE PRODUCTION CODE = 280
• THE STRUCTURE OF THE STUDIO SYSTEM = 284
• MGM = 286
• Paramount = 288
• Warner Bros. = 290
• 20th Century­Fox = 292
• RKO = 293
• The Minors = 295
• "Poverty Row" = 300
• Ethnic Cinema = 302
• MAJOR FIGURES OF THE STUDIO ERA = 307
• Josef von Sternberg = 307
• John Ford = 312
• Howard Hawks = 319
• Alfred Hitchcock = 323
• George Cukor, William Wyler, and Frank Capra = 341
• 9 Europe in the Thirties = 347
• THE INTERNATIONAL DIFFUSION OF SOUND = 347
• BRITAIN = 348
• GERMANY = 350
• ITALY = 353
• THE SOVIET UNION = 354
• FRANCE = 362
• Avant­Garde Impressionism, 1921­1929 = 362
• The "Second" Avant­Garde = 369
• Sound, 1929­1934 = 374
• Poetic Realism, 1934­1940 = 378
• Jean Renoir = 381
• 10 Orson Welles and the Modern Sound Film = 392
• CITIZEN KANE = 393
• Production = 393
• Structure = 397
• Influence = 409
• WELLES AFTER KANE = 411
• 11 Wartime and Postwar Cinema : Italy and The United States, 1940­1951 = 421
• THE EFFECTS OF WAR = 421
• ITALY = 422
• The Italian Cinema before Neorealism = 422
• The Foundations of Neorealism = 424
• Neorealism : Major Figures and Films = 427
• The Dedine of Neorealism = 436
• The Impact of Neorealism = 437
• THE UNITED STATES = 439
• Hollywood at War = 439
• The Postwar Boom = 443
• POSTWAR GEN RES IN THE UNITEDS = 446
• "Social­Consciousness" Films and Semidocumentary Melodramas = 446
• Film Noir = 449
• The witch Hunt and the Blacklist = 453
• The Arrival of Television = 458
• 12 Hollywood, 1952­1965 = 461
• THE CONVERSION TO COLOR = 461
• WIDESCREEN AND 3­D = 463
• Multi­Camera／Projector Widescreen : Cinerama = 463
• Depth : Stereoscopic 3­D = 465
• The Anamorphic Widescreen Processes = 469
• The Nonanamorphic, or Wide­Film, Widescreen Processes = 472
• Adjusting to Widescreen = 474
• The Widescreen Blockbuster = 477
• American Directors in the Early Widescreen = 479
• FIFTIES GENRES = 486
• The Musical = 486
• Comedy = 487
• The Western = 491
• The Gangster Film and the Anticommunist = 493
• Science Fiction = 498
• The "SMALL Film" : American Kammerspiel = 509
• INDEPENDENT PRODUCTION AND THE DECLINE OF THE STUDIO SYSTEM = 510
• THE SCRAPPING OF THE PRODUCTION CODE = 513
• 13 The French New Wave and Its Native Context = 516
• THE OCCUPATION AND POSTWAR CINEMA = 516
• Robert Bresson and Jacques Tati = 520
• Max Oph$$\ddot u$$ls = 522
• INFLUENCE OF THE FIFTIES DOCUMENTARY MOVEMENT AND INDEPENDENT PRODUCTION = 524
• THEORY : ASTRUC, BAZIN, AND CAHIERS DU CIN$$\acute E$$MA = 528
• THE NEW WAVE : FIRST FILMS = 530
• THE NEW WAVE : ORIGINS OF STYLE = 534
• MAJOR NEW WAVE FIGURES = 536
• Francois Truffaut = 536
• Jean­Luc Godard = 541
• Alain Resnais = 547
• Claude Chabrol = 550
• Louis Malle = 552
• Eric Rohmer and Jacques Rivette = 555
• Agn$$\bprim e$$s Varda, Jacques Demy, and Others = 557
• THE SIGNIFICANCE OF THE NEW WAVE = 567
• 14 New Cinemas in Britain and the English­Speaking Commonwealth = 568
• GREAT BRITAIN = 568
• Postwar British Cinema and Its Context = 568
• The Free Cinema Movement = 571
• British "New Cinema", or Social Realism = 572
• The End of Social Realism and Beyond = 579
• AUSTRALIA AND NEW ZEALAND = 589
• CANADA = 600
• 15 European Renaissance : West = 607
• THE SECOND ITALIAN FILM RENAISSANCE = 607
• Federico Fellini = 607
• Michelangelo Antonioni = 612
• Olmi, Pasolini, and Bertolucci = 616
• Other Italian Auteurs = 620
• CONTEMPORARY WIDESCREEN TECHNOLOGIES AND STYLES = 627
• SCANDINAVIAN OR NORDIC CINEMA = 631
• Ingmar Bergman = 631
• Other Nordic Cinema = 638
• SPAIN = 644
• Luis Bu$$\tilde n$$tl = 644
• New Spanish Cinema = 653
• GERMANY : DAS NEUE KINO = 658
• Postwar Origins = 658
• Young German Cinema = 659
• The New German Cinema = 660
• Volker Schl$$\ddot o$$ndorff, Alexander Kluge, and Margarethe von Trotta = 662
• Rainer Werner Fassbinder = 664
• Werner Herzog = 668
• Wim Wends = 672
• Hans J$$\ddot u$$rgen Syberberg and Others = 675
• Jean­Marie Straub and Marxist Aesthetics = 677
• 16 European Renaissance : East = 682
• POLAND = 683
• The Polish school = 683
• The Second Generation = 688
• The Third Polish Cinema = 692
• Solidarity and the Polish Cinema = 695
• FORMER CZECHOSLOVAKIA = 700
• The Postwar Period = 700
• The Czech New Wave = 704
• "Banned Forever" = 714
• HUNGARY = 717
• Three Revolutions = 717
• Andr$$\acute a$$s Kov$$\acute s$$cs = 719
• Mikl$$\acute o$$s Jancs$$\acute o$$ = 720
• Ga$$\acute a$$l, Szab$$\acute o$$, and M$$\acute e$$sz$$\acute a$$ros = 725
• Other Hungarian Directors = 729
• FORMER YUGOSLAVIA = 742
• Partisan Cinema and Nationalist Realism = 743
• Novi Film = 746
• The "Prague Group" = 750
• BULGARIA = 758
• ROMANIA = 770
• OTHER BALKAN COUNTRIES = 776
• 17 The Former Soviet Union, 1945­Present = 781
• STALINIST CINEMA = 781
• CINEMA DURING THE KHRUSHCHEV THAW = 783
• SERGEI PARAJANOV AND SHADOWS OF FORGOTTEN ANCESTORS = 787
• CINEMA UNDER BREZHNEV = 791
• CINEMA OF THE NON­RUSSIANAN REPUBLICS = 794
• BALTIC CINEMA = 795
• Lithuania = 795
• Latvia = 797
• Estonia = 796
• Moldavia （Moldova） = 797
• TRANSCAUCASIAN CINEMA = 798
• Georgia = 798
• Armenia = 803
• Azerbaijan = 807
• CENTRAL ASIAN CINEMA = 808
• Uzbekistan = 808
• Kazakhstan = 811
• Kirghizia （Kyrgyzstan） = 814
• Tadjikistan = 815
• Turkmenistan = 816
• SOVIET RUSSIAN CINEMA = 817
• GLASNOST, PERESTROIKA, AND THE COLLAPSE OF THE SOVIET UNION = 822
• 18 Wind from the East : Japan, India, and China = 828
• JAPAN = 828
• The Early Years = 828
• Sound = 830
• War = 831
• Occupation = 833
• Rashomon, Kurosawa, and the Postwar Renaissance = 834
• Kenji Mizoguchi = 842
• Yasujiro Ozu = 844
• Off­Screen Space = 846
• The Second Postwar Generation = 848
• The Japanese New Wave = 851
• Japanese Filmmaking after the New Wave = 856
• Decline of the Studios = 858
• INDIA = 860
• Satyajit Ray = 862
• Parallel Cinema = 864
• CHINA = 868
• The People's Republic of China = 868
• Hong Kong = 872
• Taiwan = 874
• 19 Third World Cinema = 877
• LATIN AMERICA = 878
• Mexico = 880
• Brazil = 882
• Argentina = 886
• Bolivia, Peru, and Chile = 889
• Venezuela, Colombia, and Central America = 894
• CUBA AND THE NEW LATIN AMERICAN CINEMA = 896
• AFRICA = 901
• THE MIDDLE EAST = 909
• Iran = 909
• Israel = 912
• PACIFIC RIM = 916
• 20 Hollywood, 1965­Present = 919
• THE NEW AMERICAN CINEMA = 923
• The Impact of Bonnie and Clyde = 923
• 2001 : A Space Odyssey = 925
• The Wild Bunch : "Zapping the Cong" = 928
• End of a Dream = 931
• HOLLYWOOD IN THE SEVENTIES AND EIGHTIES = 933
• Inflation and Conglomeration = 933
• New Filmmakers of the Seventies and Eighties = 937
• The American Film Industry in the Age of "Kidpix" = 944
• The Effects of Video = 947
• FROM MECHANICAL REPRODUCTION TO THE VIRTUALLY REAL = 954
• Glossary = 959
• Selective Bibliography = 979
• Index = 1055