Film Studies (Pocket Essential series)

Film Studies (Pocket Essential series)

Andrew M. Butler

Language: English

Pages: 160

ISBN: 1904048439

Format: PDF / Kindle (mobi) / ePub


Pocket Essentials is a dynamic series of books that are concise, lively, and easy to read. Packed with facts as well as expert opinions, each book has all the key information you need to know about such popular topics as film, television, cult fiction, history, and more. This book offers a concise introduction to the appreciation and study of film. It begins with the nuts and bolts, an examination of how films are put together—framing, performance, setting, costume and editing—and then examines a number of approaches taken to film over the last half century, such as the auteur theory, structuralism, psychoanalysis, feminism, queer theory, and more. Applying these theories to films everyone will have seen, such as The Usual Suspects and Seven, the book also includes an overview of genres, national cinemas, and film movements worldwide.

What They Don't Teach You at Film School: 161 Strategies For Making Your Own Movies No Matter What

The Wonderful World of Oz: An Illustrated History of the American Classic

Documentary Film: A Very Short Introduction (Very Short Introductions)

Must We Kill the Thing We Love? Emersonian Perfectionism and the Films of Alfred Hitchcock

The X List: The National Society of Film Critics' Guide to the Movies That Turn Us On

Jean-Luc Godard, Cinema Historian

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the history of contradictions and counter-positions.You get a basic idea which comes into conflict with its opposite, and the original idea is therefore modified: thesis – antithesis – synthesis. Of course, it does not stop at synthesis, but moves on to a new antithesis.This idea is known as dialectics, and Marx’s application and modification of the idea to the way the real, material, solid world operates is known as dialectical materialism. From Marx’s knowledge of contemporary and historical

nation-state by multinational corporations. The American academic, Fredric Jameson, was one of several to label the era of the postindustrial as the postmodern age. For Jameson, the postmodern was to be viewed with a certain amount of suspicion – other theorists would celebrate it. These aesthetics celebrated the copy or simulacrum over the original, style over substance, demonstrated a failure of emotion and individualism, and frequently would be characterised by pastiche or nostalgia for an

Australian situation, but first a brief word on some others. France has been through a number of periods of filmmaking, with the most significant period being the 1960s and the Nouvelle Vague (or New Wave). Many of the critics who had been working on the film journal Cahiers Du Cinéma, from which the auteur theory had emerged, began to make their own films, most notably Jean-Luc Godard, François Truffaut and Claude Chabrol.This generation of filmmakers was attempting to make a distinct break from

Smith, Murray, eds., 1998. Contemporary Hollywood Cinema. London and New York: Routledge. Odell, Colin and Le Blanc, Michelle, 2001. Horror Films. Harpenden: Pocket Essentials. Odell, Colin and Le Blanc, Michelle, 2001. John Carpenter. Harpenden: Pocket Essentials. Odell, Colin and Le Blanc, Michelle, 2000. Vampire Films. Harpenden: Pocket Essentials. Perkins, V. F., 1972. Film As Film. Harmondsworth, Middlesex: Pelican. [Decent common sense approach to film] Pierson, John, 1997. Spike, Mike,

Hitchcock and Howard Hawks. An auteur was a person, usually a director, who was able to stamp his own identity upon a film despite the commercial pressures within the studio system – compare the way that aspects of David Fincher’s vision can be traced in Alien3 (1992), despite the pressures from the studio for a product that would draw in and expand upon audiences for Alien (1979) and Aliens (1986). The auteur is to be contrasted with the metteur en scène, the director for hire who was thought by

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