Film Art: An Introduction

Part 1 Film Art and Filmmaking
1. Film as Art: Creativity, Technology, and Business

Part 2 Film Form
2. The Significance of Film Form
3. Narrative Form

Part 3 Film Style
4. The Shot: Mise-en-Scene
5. The Shot: Cinematography
6. The Relation of Shot to Shot: Editing
7. Sound in the Cinema
8. Summary: Style as a Formal System

Part 4 Types of Films
9. Film Genres
10. Documentary, Experimental, and Animated Films

Part 5 Critical Analysis of Films
11. Film Criticism: Sample Analyses
Appendix: Writing a Critical Analysis of a Film

Part 6 Film History
12. Historical Changes in Film Art: Conventions and Choices, Tradition and Trends

Glossary
Credits
Recommended DVD and Blu-Ray Supplements
Index

David Bordwell is Jacques Ledoux Professor of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate from the University of Iowa. He is the author of The Films of Carl Theodor Dreyer (University California Press, 1981), Narration in the Fiction Film (University Wisconsin Press, 1985), Ozu and the Poetics of Cinema (British Film Institute/Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997) and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000). He has won a University Distinguished Teaching Award.Kristin Thompson is an Honorary Fellow at the University of Wisconsin - Madison. She holds a master's degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin - Madison. She has published Eisenstein's Ivan the Terrible (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), and Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. Heinman, 1992). In her spare time she studies Egyptology. The authors have collaborated on Film History (McGraw-Hill, 1994) with Janet Staiger, on The Classical Hollywood Cinema (Columbia University Press, 1985) and Storytelling in the New Hollywood (Harvard University Press, 1999.