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Table of Contents The Curriculum Acknowledgments............................................................ 6 Introduction....................................................................11 1. Non-Linear Storytelling - Amores Perros.................................14 2. Transformation of the American Comedy - Annie Hall..................21 3. Tableau Narrative Structure and Sound Design - Apocalypse Now.....29 4. The Body as Cinematic Landscape - L'Avventura........................37 5. Editing - Russian Montage -The Battleship Potemkin...................45 6. Italian Neorealism - The Bicycle Thief......................................54 7. Production Design - Blade Runner..........................................62 8. Dream State - Blue Velvet.....................................................71 9. The Period Film as Mirror for the Present - Bonnie and Clyde...........80 10. Expressionism in Cinema - The Cabinet of Dr. Caligari..................88 11. Classical Hollywood Film Style - Cassablanca.....................................96 12. Surrealism in Cinema - Un Chien Andalou.................................108 13. The Authorial Voice - Citizen Kane..........................................117 14. Shot Structure - The Crowd...................................................128 15. Thematic Unity - The Decalogue.............................................135 16. Mythopoetic Film - Dog Star Man............................................146 17. Political Objectives Through Cinematic Storytelling - Do the Right Thing 154 18. Film Noir - Double Indemnity 19. The personal film - 8 1/2..........................................................172 20. Animation and Music - Fantasia................................................181 21. An American Musical - 42nd Street..............................................190 22. New York Filmmaking - The French Connection..............................199 23. Period Comedy - The General.....................................................207 24. Parallel Storytelling - Intolerance................................................215 25. French New Wave - Jules and Jim................................................222 26. The Epic - Lawrence of Arabia.....................................................229 27. The Political Thriller - The Manchurian Candidate.............................237 28. Self-Referential Cinema - Man with the Movie Camera........................246 29. Architecture in Production Design - Metropolis.................................254 30. Roots of Documentary Film - Nanook of the North.............................263 31. Multi-Plot, Multi-Character Narrative - Nashville..............................271 32. Method Acting - On the Waterfront...............................................279 33. The Close-Up - The Passion of Joan of Arc......................................289 34. Dark Side of American Cinema - Psycho........................................298 35. Subtext in Personal Expression - Raging Bull....................................306 36. Multiple Point-of-View Narrative - Rashomon..................................314 37. Widescreen Filmmaking - Rebel Without a Cause..............................322 38. Camera Movement as Metaphor - LaRonde......................................330 39. Mise-En-Scène - Rules of the Game...............................................337 40. Direct Cinema - Salesman..........................................................344 41. The Freudian Western - TheSearchers............................................351 42. Defining Theme, Metaphor, and Character Through Color, Texture and Environmental Design - Se7en.....................................................359 43. Symbolism in the Cinema - The Seventh Seal...................................367 44. Art of the B-Movie - Shock Corridor.............................................375 45. Digital Filmmaking - Star Wars: Episode II: Attack of the Clones...........383 46. Birth of a Non-Fiction Film Style - The Thin Blue Line........................393 47. Experiential Narrative - 2001: A Space Odyssey.................................401 48. The Essay Film - Weekend.........................................................409 49. Screen Violence as Metaphor - The Wild Bunch.................................418 50. Independent Filmmaking - A Woman Under the Influence.....................426 Glossary................................................................................435 Bibliography...........................................................................449 Index....................................................................................479
Library of Congress Subject Headings for this publication:
Motion pictures.
Cinematography.