This new edition of Film History has been revised to include recent films, new examples, and updated comprehensive overviews of the rise of streaming services as purveyors of cinematic content as well as the massive disruptions of film production, distribution, and exhibition caused by the COVID-19 pandemic. It is a comprehensive global survey of film and its many genres - from drama and comedy to documentary and experimental - written by three of the discipline's leading scholars. Concepts and events are illustrated with frame enlargements taken from the original sources, giving students more…mehr
This new edition of Film History has been revised to include recent films, new examples, and updated comprehensive overviews of the rise of streaming services as purveyors of cinematic content as well as the massive disruptions of film production, distribution, and exhibition caused by the COVID-19 pandemic. It is a comprehensive global survey of film and its many genres - from drama and comedy to documentary and experimental - written by three of the discipline's leading scholars. Concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic and relevant points of reference than publicity stills. There are 100 new film clips with commentary in McGraw Hill Connect® - the web-based assignment and assessment platform that helps you connect your students to their coursework. Film History is a text that any serious film scholar - professor, undergraduate, or graduate student - will want to read and keep.
Kristin Thompson is an Honorary Fellow in the Department of Communication Arts at the University of Wisconsin-Madison, where she earned her Ph.D. Her books include Eisenstein's Ivan the Terrible (1981), Exporting Entertainment: America's Place in World Film Markets 1901-1934 (1985), Breaking the Glass Armor: Neoformalist Film Analysis (1988), Storytelling in the New Hollywood: Understanding Classical Narrative Technique (1999), Herr Lubitsch Goes to Hollywood: German and American Film after World War I (2005), and The Frodo Franchise: The Lord of the Rings and Modern Hollywood (2007).
Inhaltsangabe
Part One: Early Cinema Chapter 1 The Invention and Early Years of the Cinema, 1180s 1904 Chapter 2 The International Expansion of the Cinema, 1905 1912 Chapter 3 National Cinemas, Hollywood Classicism, and World War 1, 1913 1919 Part Two: The Late Silent Era, 1919 1929 Chapter 4 France in the 1920s Chapter 5 Germany in the 1920s Chapter 6 Soviet Cinema in the 1920s Chapter 7 The Late Silent Era in Hollywood, 1920 1928 Chapter 8 International Trends of the 1920s Part Three: The Development of Sound Cinema, 1926 1945 Chapter 9 The Introduction of Sound Chapter 10 The Hollywood Studio System, 1930 1945 Chapter 11 Other Studio Systems Chapter 12 Cinema and the State: The USSR, Germany, and Italy, 1930 1945 Chapter 13 France: Poetic Realism, The Popular Front, and the Occupation, 1930 1945 Chapter 14 Leftist, Documentary, and Experimental Cinemas, 1930 1945 Part Four: The Postwar Era, 1945 1960s Chapter 15 American Cinema in the Postwar Era, 1945 1960 Chapter 16 Postwar European Cinema: Neorealism and its Context, 1945 1959 Chapter 17 Postwar European Cinema: France, Scandinavia, and Britain, 1945 1959 Chapter 18 Postwar Cinema Beyond the West, 1945 1959 Chapter 19 Art Cinema and the Idea of Authorship Chapter 20 New Waves and Young Cinemas, 1958 1967 Chapter 21 Documentary and Experimental Cinema in the Post War Era, 1945 Mid 1960s Part 5: The Contemporary Cinema Since the 1960s Chapter 22 Hollywood's Fall and Rise, 1960 1980 Chapter 23 Politically Critical Cinema of the 1960s and 1970s Chapter 24 Documentary and Experimental Cinema Since the Late 1960s Chapter 25 New Cinemas and New Developments: Europe and the USSR Since the 1970s Chapter 26 A Developing World: Continental and Subcontinental Cinemas Since 1970 Chapter 27 Cinema Rising: Pacific Asia and Oceania Since 1970 Part 6: Cinema in the Age of New Media Chapter 28 American Cinema and the Entertainment Economy, the 1980s and After Chapter 29 Toward a Global Fil Culture Chapter 30 Digital Technology and the Cinema
Part One: Early Cinema Chapter 1 The Invention and Early Years of the Cinema, 1180s 1904 Chapter 2 The International Expansion of the Cinema, 1905 1912 Chapter 3 National Cinemas, Hollywood Classicism, and World War 1, 1913 1919 Part Two: The Late Silent Era, 1919 1929 Chapter 4 France in the 1920s Chapter 5 Germany in the 1920s Chapter 6 Soviet Cinema in the 1920s Chapter 7 The Late Silent Era in Hollywood, 1920 1928 Chapter 8 International Trends of the 1920s Part Three: The Development of Sound Cinema, 1926 1945 Chapter 9 The Introduction of Sound Chapter 10 The Hollywood Studio System, 1930 1945 Chapter 11 Other Studio Systems Chapter 12 Cinema and the State: The USSR, Germany, and Italy, 1930 1945 Chapter 13 France: Poetic Realism, The Popular Front, and the Occupation, 1930 1945 Chapter 14 Leftist, Documentary, and Experimental Cinemas, 1930 1945 Part Four: The Postwar Era, 1945 1960s Chapter 15 American Cinema in the Postwar Era, 1945 1960 Chapter 16 Postwar European Cinema: Neorealism and its Context, 1945 1959 Chapter 17 Postwar European Cinema: France, Scandinavia, and Britain, 1945 1959 Chapter 18 Postwar Cinema Beyond the West, 1945 1959 Chapter 19 Art Cinema and the Idea of Authorship Chapter 20 New Waves and Young Cinemas, 1958 1967 Chapter 21 Documentary and Experimental Cinema in the Post War Era, 1945 Mid 1960s Part 5: The Contemporary Cinema Since the 1960s Chapter 22 Hollywood's Fall and Rise, 1960 1980 Chapter 23 Politically Critical Cinema of the 1960s and 1970s Chapter 24 Documentary and Experimental Cinema Since the Late 1960s Chapter 25 New Cinemas and New Developments: Europe and the USSR Since the 1970s Chapter 26 A Developing World: Continental and Subcontinental Cinemas Since 1970 Chapter 27 Cinema Rising: Pacific Asia and Oceania Since 1970 Part 6: Cinema in the Age of New Media Chapter 28 American Cinema and the Entertainment Economy, the 1980s and After Chapter 29 Toward a Global Fil Culture Chapter 30 Digital Technology and the Cinema
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