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