85:T695,

Second edition.

Written by two leading film scholars, Film History: An Introduction is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling Film Art, concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

CONTENTS:

Preface

Introduction: Film History and How It Is Done

Part ONE: EARLY CINEMA

1 THE INVENTION AND EARLY YEARS OF THE CINEMA, 1880s-1904

2 THE INTERNATIONAL EXPANSION OF THE CINEMA, 1905-1912

3 NATIONAL CINEMA, HOLLYWOOD CLASSICISM, AND WORLD WAR I, 1905-1919

Part TWO: THE LATE SILENT ERA, 1919-1929

4 FRANCE IN THE 1920S

5 GERMANY IN THE 1920s

6 SOVIET CINEMA IN THE 1920s

7 THE LATE SILENT ERA IN HOLLYWOOD, 1920-1928

8 INTERNATIONAL TRENDS OF THE 1920s

Part THREE: THE DEVELOPMENT OF SOUND CINEMA, 1926-1945

9 THE INTRODUCTION OF SOUND

10 THE HOLLYWOOD STUDIO SYSTEM, 1930-1945

11 OTHER STUDIO SYSTEMS

12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945

13 FRANCE: POETIC REALISM, THE POPULAR FRONT AND THE OCCUPATION, 1930-1945

14 LEFTIST, DOCUMENTARY, AND EXPERIMENTAL CINEMA, 1930-1945

86:T4ba,

Most films tell tales, but what does that involve? How do motion pictures tease us into building what we all agree to call stories? In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse story-telling patterns to construct their fictional narratives. The result is a pioneering, far-reaching work which will change the way we perceive narrative film--and which every serious film scholar, student or fan will welcome.

"This book is of crucial importance to film specialists. I cannot think that any film teacher/scholar would miss reading this work."--Don Fredricksen, Cornell University

"David Bordwell's Narration in the Fiction Film is a major contribution to film studies and to narrative theory. The work, I predict, will be widely read, praised, debated, and damned. Brodwell's originality lies not so much in demonstrating the deficiencies of other theories, which he does very convincingly, but in the scope and design of his project, against which there is no competition of comparable intellectual weight."--Jerry Carlson, DePaul University

87:T823,Written by two of the leading scholars in film studies, Film History: An Introduction is a comprehensive, global survey of the medium that covers the development of every genre in film, from drama and comedy to documentary and experimental. As with the authors' bestselling Film Art: An Introduction (now in its eighth edition), concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic points of reference than competing books that rely on publicity stills.

The third edition of Film History is thoroughly updated and includes the first comprehensive overviews of the impact of globalization and digital technology on the cinema. Any serious film scholar--professor, undergraduate, or graduate student--will want to read and keep Film History.

Visit the author's blog at http://www.davidbordwell.net/blog/

Instructors and students can now access their course content through the Connect digital learning platform by purchasing either standalone Connect access or a bundle of print and Connect access. McGraw-Hill Connect® is a subscription-based learning service accessible online through your personal computer or tablet. Choose this option if your instructor will require Connect to be used in the course. Your subscription to Connect includes the following:

• SmartBook® - an adaptive digital version of the course textbook that personalizes your reading experience based on how well you are learning the content.
• Access to your instructor’s homework assignments, quizzes, syllabus, notes, reminders, and other important files for the course.
• Progress dashboards that quickly show how you are performing on your assignments and tips for improvement.
• The option to purchase (for a small fee) a print version of the book. This binder-ready, loose-leaf version includes free shipping.

Complete system requirements to use Connect can be found here: http://www.mheducation.com/highered/platforms/connect/training-support-students.html88:T4e3,Connect is the only integrated learning system that empowers students by continuously adapting to deliver precisely what they need, when they need it, and how they need it, so that your class time is more engaging and effective.

Film is an art form with a language and an aesthetic all its own. Since 1979, david bordwell and kristin thompson's film art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond.

film art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the tenth edition also offers Connect for film art, a digital solution that includes multimedia tutorials along with web-based assignment and assessment tools.89:T431,Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell, Kristin Thompson and now, Co-Author, Jeff Smith's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the twelfth edition of Film Art delivers SmartBook, first and only adaptive reading experience currently available, designed to help students stay focused, maximize study time and retain basic concepts.

8a:T8f1,

Most films tell tales, but what does that involve? How do motion pictures tease us into building what we all agree to call stories? In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of the film medium, and diverse storytelling patterns to construct their fictional narratives. The result is a pioneering, far reaching work which will change the way we perceive narrative film and which every serious film scholar, student or fan will welcome.

Bordwell begins his study with an overview of general approaches to narration. Drawing on the insights of certain theories- in particular Russian formalist aesthetic theory and cognitive psychology for its notion of how the viewer contributes to the process of narrative comprehension- he formulates a new concept of narration that is uniquely applicable to fictional cinema. Films, Bordwell argues, are patterned systems that prompt spectators versed in narrative conventions to construct a story. Since cinema is a medium involving both time and place, he considers how these factors affect the concrete process of film narration and help shape the spectators’ story comprehension.

If the conventions of story making very from medium to medium, they also vary historically. Dominant modes of film narration, Bordwell suggests have furnished tacit conventions for film makers and audiences at different periods. Characterising four of these modes as classical Hollywood cinema, the European ‘art cinema’, the Soviet historical materialist film and parametric narration, he examines the history and specific strategies of each.

Ultimately, however, Bordwell offers more than abstract theory. Demonstrating how his concept of narration can aid in the critical analysis of particular films and film makers, he provides fresh discussions of such movies as ‘His Girl Friday’, ‘The Big Sleep’, ‘Rear Window’ and ‘La Guerre est Finie’. In director Jean-Luc Goddard, Bordwell finds particularly telling reference point; the Frenchman's films derive their particular difficulty and charm, he argued, by parodying, mixing and subverting those narrative conventions which audiences have learnt to trust.

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