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CONTENTS
Illustrations ... xi
Notes on contributors ... xvii
Preface to the second edition ... xix
Acknowledgements ... xx
1 Introduction / JILL NELMES ... 1
PART ONE : INSTITUTIONS, AUDIENCES AN...
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CONTENTS
Illustrations ... xi
Notes on contributors ... xvii
Preface to the second edition ... xix
Acknowledgements ... xx
1 Introduction / JILL NELMES ... 1
PART ONE : INSTITUTIONS, AUDIENCES AND TECHNOLOGY ... 11
2 Cinema as institution / SEARLE KOCHBERG ... 13
Introduction ... 14
The origins of the American film industry(1900-15) ... 14
The studio era of American film(1930-49) ... 17
CASE STUDY 1 : WARNER BROS. ... 21
The contemporary film industry(1949 onwards) ... 26
CASE STUDY 2 : A MAJOR US PRODUCTION, JAWS(1975) ... 34
CASE STUDY 3 : A MEDIUM-BUDGET UK PRODUCTION, THE CRYING GAME(1992) ... 37
CASE STUDY 4 : A LOW-TO MEDIUM-BUDGET UK PRODUCTION, FELLOW TRAVELLER(1989) ... 39
Film audiences ... 44
Censorship and classification ... 48
CASE STUDY 5 : US - THE HAYS CODE ... 49
CASE STUDY 6 : UK CENSORSHIP - INTERWAR AND SECOND WORLD WAR ... 51
CASE STUDY 7 : UK CONTEMPORARY - PLATOON(1986) ... 52
Cinema as institution - summary ... 53
Notes ... 53
Further reading ... 57
Further viewing ... 57
Resource centres ... 58
3 Film end technology / CHRIS WEBSTER ... 59
Introduction ... 60
Film and the technology of illusion ... 62
In the beginning ... 64
From toys to Tinseltown ... 66
Somewhere between then and now ... 69
Computer-generated imagery ... 73
CASE STUDY 1 : MARS ATTACKS!(1996) ... 77
Other ways of seeing ... 79
World economics and new technologies ... 84
Final frame : conclusion ... 85
Further reading ... 86
Further viewing ... 87
Resource centres ... 87
PART TWO : APPROACHES TO STUDYING FILM TEXTS ... 89
4 Film form and narrative / ALLAN ROWE ... 91
Introduction : the act of viewing ... 92
CASE STUDY 1 : ROBOCOP(1987) ... 92
CASE STUDY 2 : BEGINNING OF KEATONS THE GENERAL(1925) ... 95
Cinematic codes ... 98
Narrative ... 115
Alternative narratives ... 121
CASE STUDY 3 : IF... - AN ALTERNATIVE TEXT(1968) ... 124
Notes ... 127
Further reading ... 127
Further viewing ... 128
Resource centres ... 128
5 The film spectator / PATRICK PHILLIPS ... 129
Introduction : spectators audiences, screenings ... 130
What we can learn from Early Cinema ... 132
Some characteristics of the spectator of film and cultural theory ... 136
More on the spectator as subject ... 143
More on communication models and response ... 147
CASE STUDY 1 : PULP FICTION(1994) ... 148
Some notes on spectatorship and regulation ... 157
Notes ... 159
Further reading ... 160
6 Genre, star and auteur - critical approaches to Hollywood cinema / PATRICK PHILLIP ... 161
Introduction ... 162
CASE STUDY PART 1 : GENRE, STAR AND AUTEUR - CRITICAL APPROACHES TO NEW YORK, NEW YORK ... 164
Genre ... 166
CASE STUDY PART 2 : NEW YORK, NEW YORK AS PROBLEMATIC MUSICAL ... 178
Stars ... 181
CASE STUDY PART 3 : NEW YORK, NEW YORK AS CLASH OF THE STARS ... 193
Auteurs ... 195
CASE STUDY PART 4 : SCORSESE AND NEW YORK, NEW YORK ... 202
Beyond a structuralist critical approach to Hollywood cinema ... 204
Notes ... 207
Further viewing ... 207
PART THREE : GENRE FORMS - REALISM AND ILLUSION ... 209
7 The documentary form : personal and social realities / PAUL WELLS ... 211
Introduction ... 212
What is documentary? ... 213
Some developments in non-fiction film ... 215
From travelogue to authored documentary ... 216
CASE STUDY 1 : ROBERT FLAHERTY ... 217
From social commentary to propaganda to poetic actuality ... 219
CASE STUDY 2 : HUMPHREY JENNINGS ... 220
Propaganda as documentary myth ... 222
CASE STUDY 3 : LENI REIFENSTAHL ... 222
From documentary bias to direct cinema and cin e ma-v e rit e ... 224
CASE STUDY 4 : FREDERICK WISEMAN ... 227
From radical documentary to television, diversity and popular forms ... 229
CASE STUDY 5 : HOOP DREAMS(1994) AND WHEN WE WERE KINGS(1996) ... 231
Notes ... 234
Further reading ... 234
Further viewing ... 235
Resource centres ... 235
8 Animation forms and meanings / PAUL WELLS ... 237
Introduction ... 238
What is animation? ... 238
Early animation ... 239
The legacy Of Disney ... 241
CASE STUDY 1 : DECONSTRUCTING THE CARTOON - DUCK AMUCK(1953) ... 242
Orthodox animation ... 245
CASE STUDY 2 : GIRLS NIGHT OUT(1986) ... 248
UPA and Zagreb Studios ... 250
Developmental animation ... 250
CASE STUDY 3 : CREATURE COMFORTS(1990) ... 251
CASE STUDY 4 : NEIGHBOURS(1952) ... 252
CASE STUDY 5 : THE TANGO(1991) AND THE CRIMINAL(1992) ... 254
Experimental animation ... 255
CASE STUDY 6 : A COLOUR BOX(1935) ... 258
CASE STUDY 7 : DEADSY(1990) ... 258
CASE STUDY 8 : COMPUTERS AND CONVERGENCE ... 259
Conclusion ... 261
Notes ... 261
Further reading ... 262
Further viewing ... 262
Resource centres ... 263
PART FOUR : REPRESENTATION OF GENDER AND SEXUALITY ... 265
9 Women and film / JILL NELMES ... 267
Introduction ... 268
No Job for a woman - a history of women in film ... 268
Women working in documentary film in Britain ... 269
The feminist revolution ... 273
Feminist film theory and practice in Britain ... 274
Reassessing feminist film theory ... 282
Feminist film theory in the 1990s ... 283
Women in the mainstream film industry ... 286
CASE STUDY 1 : RED FLANNEL ... 291
CASE STUDY 2 : MAM(1988) ... 292
CASE STUDY 3 : A QUESTION OF SILENCE(1982), DIRECTOR : MARLENE GORRIS ... 293
CASE STUDY 4 : SALLY POTTER, FILM-MAKER ... 296
CASE STUDY 5 : THE GOLD DIGGERS(1983) ... 297
CASE STUDY 6 : ORLANDO(1993) ... 298
CASE STUDY 7 : THE PIANO(1993) ... 299
Notes ... 303
Further reading ... 304
Further viewing ... 304
Resource centres ... 305
10 Lesbian and gay cinema / CHRIS JONES ... 307
Representation ... 308
Definitions and developments - homosexual and gay ... 309
Audiences ... 310
Lesbian and Gay Film Festivals ... 31l
Gay sensibility ... 313
Lesbian and gay film study ... 315
Critical re-readings ... 315
Some films with gay themes ... 320
CASE STUDY 1 : VICTIM(BASIL DEARDEN, UK 1961) ... 321
CASE STUDY 2 : DESERT HEARTS(DONNA DEITCH, US 1985) ... 324
CASE STUDY 3 : THE LIVING END(GREGG ARAKI, US 1993) ... 327
CASE STUDY 4 : LOOKING FOR LANGSTON(ISAAC JULIEN, US 1994) ... 330
CASE STUDY 5 : GO FISH(ROSE TROCHE, US 1994) ... 332
Conclusion : a queer diversity ... 335
Further reading ... 341
Further viewing ... 341
Resource centres ... 344
PART FIVE : NATIONAL CINEMAS ... 345
11 British Cinema / LEZ COOKE ... 347
Part 1 : Approaches and definitions ... 348
What do we mean by British Cinema? ... 348
What is a British film? ... 349
British Cinema as ‘national cinema? ... 350
Part 2 : British film culture - a historical overview ... 351
From cottage industry to mass entertainment ... 351
Government legislation in the 1920s ... 352
Class and culture in 1930s British cinema ... 353
Realism and tinsel in wartime cinema ... 356
The postwar period ... 359
New films for new audiences : Hammer horror and the new wave ... 361
Popular cinema the : Carry On and Bond films ... 363
British Cinema and Hollywood in the Sixties ... 366
The 1970s : mainstream decline and the rise of independent cinema ... 366
1980s renaissance ... 367
Heritage cinema ... 368
Channel Four and the new multicultural British Cinema ... 369
The 1980s : postscript ... 371
Part 3 : 1990s renaissance ... 371
From art house to mainstream ... 372
CASE STUDY 1 : TRAINSPOTTING(1996) ... 373
CASE STUDY 2 : THE FULL MONTY(1997) ... 375
A brief survey of other 1990s British films ... 377
Conclusion ... 378
Further reading ... 379
Further viewing ... 380
Resource centres ... 380
12 An introduction to Indian cinema / ASHA KASBEKAR ... 381
Introduction ... 382
The narrative structure ... 382
CASE STUDY 1 : DILWALE DULHANIYA LE JAYENGE ... 391
History of the popular Hindi film ... 396
CASE STUDY 2 : MEHBOOB KHAN(1904-64) ... 402
CASE STUDY 3 : RAJ KAPOOR(1926-88) ... 403
CASE STUDY 4 : BIMAL ROY(1902-66) ... 403
CASE STUDY 5 : GURU DUTT(1925-64) ... 403
Colour and the triumph of romance ... 405
CASE STUDY 6 : SATYAJIT RAY(1921-92) ... 408
The distribution network ... 410
Satellite television ... 411
The influence of Hollywood ... 411
Consumption of popular Hindi films in Britain ... 412
Conclusion ... 413
Further reading ... 413
Recommended viewing ... 413
Further viewing ... 414
Resource centres ... 414
13 The Soviet montage cinema of the 1920s / MARK JOYCE ... 417
Introduction : why study the Soviet cinema? ... 418
Historical background ... 418
Pre-revolutionary Russian cinema ... 419
Soviet cinema and ideology : film as agent of change ... 420
Economics of the Soviet film industry ... 421
Form : montage ... 422
Other features of the Soviet montage cinema ... 425
The key Soviet montage film-makers of the 1920s ... 425
CASE STUDY 1 : LEV KULESHOV, THE EXTRAORDINARY ADVENTURES OF MR WEST IN THE LAND OF THE BOLSHEVIKS(1924) ... 426
CASE STUDY 2 : SERGEI EISENSTEIN, STRIKE(1924) ; BATTLESHIP POTEMKIN(1925) ; OCTOBER(1927) ; OLD AND NEW(1929) ... 428
CASE STUDY 3 : VSEVOLOD PUDOVKIN, THE MOTHER(1926) ; THE END OF ST PETERSBURG(1927) ... 437
CASE STUDY 4 : ALEXANDER DOVZHENKO, ARSENAL(1929) ; EARTH(1930) ... 441
CASE STUDY 5 : ESFIR SHUB, THE FALL OF THE ROMANOV DYNASTY(1927) ... 443
Audience response ... 443
Theoretical debates montage versus realism ... 444
Postscript to the 1920s ... 445
Notes and references ... 446
Further reading ... 448
Further viewing ... 449
Resource centres ... 450
14 New German Cinema / JULIA KNIGHT ... 451
Introduction ... 452
The American legacy ... 452
The development of the film subsidy system ... 458
The artisanal mode of production ... 461
The quest for alternative images and counter-representations ... 463
CASE STUDY 1 : YESTERDAY GIRL(1965-66) ... 463
CASE STUDY 2 : THE AMERICAN FRIEND(1976-77) ... 474
CASE STUDY 3 : GERMANY, PALE MOTHER(1979-80) ... 476
Sponsorship or censorship? ... 479
Conclusion ... 481
Notes ... 482
Further reading ... 483
Further viewing ... 483
Resource centres ... 483
Glossary of key terms ... 485
Bibliography ... 501
Index ... 513
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