Encyclopedia of Film PN 1993.45 .G65 2007 (Four Volumes)
Print Journals Located In the Periodical Section Arranged Alphabetically:
Film Comment 0015-119X
Film Quarterly ISSN 0015-1386
Film As Film by V. F. Perkins; Foster Hirsch (Introduction by)"Without fuss, this stimulating book enlarges the ways in which we can look at and listen to the screen."--Foster Hirsch, from his introduction Here at last is an introduction to film theory and its history without the jargon. Noted film scholar V. F. Perkins presents criteria for expanding our understanding and enjoyment of movies. He employs commonsense words like balance, coherence, significance, and satisfaction to develop his insightful support of the subtle approach and of the unobtrusive director. Readers will learn why a scene from the humbler movie Carmen Jones is a deeper realization of filmmaking than the bravura lion sequence in the classic Battleship Potemkin. Along the way Perkins invites readers to re-experience with clarity, directness, and simplicity other famous scenes by directors like Hitchcock, Eisenstein, and Chaplin. Perkins examines the origins of movies and embraces their use of both realism and magic, their ability to record as well as to create. In the process he seeks to discover the synthesis between these opposing elements. With the delight of the fan and the perception of the critic, Perkins advances a film theory, based on the work of Bazin and other early film theorists, that is rich with suggestion for debate and further pursuit. Sit beside Perkins as he reacquaints you with cinema, heightens your awareness, deepens your pleasure, and increases your return every time you invest in a movie ticket.
Publication Date: 1993-08-22
A Short Guide to Writing about Film by Timothy CorriganThis best-selling text is a succinct guide to thinking critically and writing precisely about film. Both an introduction to film study and a practical writing guide, this brief text introduces students to major film theories as well as film terminology, enabling them to write more thoughtfully and critically. With numerous student and professional examples, this engaging and practical guide progresses from taking notes and writing first drafts to creating polished essays and comprehensive research projects. Moving from movie reviews to theoretical and critical essays, the text demonstrates how an analysis of a film can become more subtle and rigorous as part of a compositional process.
Publication Date: 2014-07-13
The Art of Watching Films by Dennis W. Petrie
Publication Date: 2006-10-01
Dictionary of Film Terms by Frank Eugene BeaverNow in its fifth edition, Frank Beaver's Dictionary of Film Terms has become an indispensable reference tool for the study of films and filmmaking. This trusted and practical handbook clearly and concisely defines the essential terms of film analysis and film art, with a special focus on the aesthetic parameters and values of filmmaking. The updated and expanded edition includes new definitions ranging from «bullet-time» optical effects, to the coming-of-age narrative, and LED lighting technology in science fiction films such as Gravity. More than 200 film title references not cited in previous editions have been added. Many classic and contemporary photo stills are included to illustrate terms. Extensive cross-referencing among individual definitions ensures easy access to interrelated terms, and a comprehensive topical index relates to larger concepts of film art. This up-to-date and comprehensive resource is a useful companion for film students and filmgoers, who will find it illuminating in its range and clarity.
Publication Date: 2015-04-01
Film Studies by Ed SikovEd Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
Publication Date: 2009-12-01
A Pocket Guide to Analyzing Films by Robert SpadoniThe perfect concise guide to the formal analysis of film. Designed to be used by readers at many levels of knowledge, this book moves systematically through the elements that make up most films, focusing on aspects of the art of cinema that are common across history and national cinemas. From form and narrative to mise-en-scène and cinematography to editing and sound, Robert Spadoni introduces and explains the principles and conventions of film in engaging, straightforward language. In addition to illustrating film techniques with almost 200 images--most of them in color--the book explains ways to find patterns and meaning in films through such concepts as motifs, development, and motivation. Thumbnail readings of exemplary films further lay out the essentials of formal analysis. Film illustrations include frame enlargements from Stagecoach, Psycho, Jeepers Creepers, Persepolis, Groundhog Day, Take Shelter, and more. Modestly priced and packed with images, A Pocket Guide to Analyzing Films is ideal for students in a wide range of film courses who are looking for an easy-to-read guide to film analysis to accompany and enhance their course materials.
Publication Date: 2014-08-30
What Is Film Theory? by RushtonThis engaging and accessible book explores major debates in contemporary film theory, providing a detailed introduction to the central arguments advanced by film theorists since the 1960s.
Publication Date: 2010-01-02
Cinematic cuts : theorizing film endings by Sheila KunkleIntroduction: on the subject of endings / Sheila Kunkle -- Resolution, truncation, glitch / Hugh S. Manon -- The banality of trauma: Claire Denis's Bastards and the anti-ending / Hilary Neroni -- The greatest trick the devil ever played: desire, drive, and the twist ending / Ryan Engley -- Retroactive rupture: the place of the subject in Jane Campion's In the cut / Fabio Vighi -- Love, loss, endings, and beginnings: a psychoanalysis of Rust and bone / Juan Pablo Lucchelli -- Cinematic ends: the ties that unbind in Claire Denis's White material / Jennifer Friedlander -- When one becomes two: the ending of Catfish / Rex Butler -- The satisfaction of an ending / Todd McGowan -- The too realistic cut: gaze as overconformity in Blue velvet / Henry Krips -- The end of fantasy as we know it: Her and the vanishing mediator of the voice in film / Sheila Kunkle -- Melancholia, an alternative to the end of the world: a reading of Lars Von Trier's film / David Denny -- Cut or time, and American cinema of thought-affect: cuts of failure in John Huston's Fat city / A. Kiarina Kordela -- The end of (self) analysis: the end of Kurosawa's High and low / Brian Wall -- The final failure in The dark knight rises / Slavoj Žižek -- The ["end"] / Jan Agodzinski.
Publication Date: 2016
The Oxford Handbook of Film and Media Studies by Robert Kolker (Editor)This handbook examines film and new media in the light of their convergence. It draws on leading scholars in the field to discuss traditional areas of history and theory of film and digital media. Its focus, however, is on the cycle of technologically driven arts. Film was born of a number ofexperiments in reproducing motion, all of which culminated in the nineteenth-century projection of short films. The creation of digital media resulted from experiments in alternative forms of representation in the early 1960s. John Whitney began creating avant-garde films from digital graphicsaround 1960 (and some of his ideas and methods were incorporated by Stanley Kubrick in 2001: A Space Odyssey). By the early 1990s, commercial filmmakers began to employ digital effects in their work. By the late nineties, digital arts had come fully into their own, both in the form of stand-alone orinteractive artworks and films created with and for the computer. At the same time, digital effects had completely overtaken optical printing and matte painting in film. From special effects to creating "realistic" backgrounds and crowds, the digital is infiltrating all aspects of filmmaking. Theinfiltration is about to become a takeover, as celluloid is replaced by high definition digital recording and projection processes. Many aspects of film will change as this latest convergence takes place. Already, cultural response to film has changed as viewers begin to teach themselves about filmthrough supplementary material on DVDs and to make their own films on home computers. But this handbook is not a technical history or manual. Quite the contrary, it is a scholarly work discussing the aesthetics, economics, and cultural results of these changes and convergences. The book balancestraditional scholarship and analysis with essays addressing technological change and the concurrent changes in cultural responses to these changes, responses already acknowledged by the profession.