Free Pony Theory ~ [Book] Film

Joined: 23 Sep 2006 Posts: 1088

Encyclopedia of Film Noir

Geoff Mayer, Brian McDonnell “Encyclopedia of Film Noir"
Greenwood Press | 2007-06-30 | ISBN: 0313333068 | 496 pages | PDF | 3,27 MB

When viewers think of film noir, they often picture actors like Humphrey Bogart playing characters like Sam Spade in The Maltese Falcon, the film based on the book by Dashiell Hammett. Yet film noir is a genre much richer. The authors first examine the debate surrounding the parameters of the genre and the many different ways it is defined. They discuss the Noir City, its setting and backdrop, and also the cultural (WWII) and institutional (the House UnAmerican Activities Committee, and the Production Code Administration) influences on the subgenres. An analysis of the low budget and series film noirs provides information on those cult classics. With over 200 entries on films, directors, and actors , the Encyclopedia of Film Noir is the most complete resource for film fans, students, and scholars. Each entry includes: BLDirector BLProducer BLCinematography BLScript BLMusic BLCast BLPlot description BLCritical analysis

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Joined: 23 Sep 2006 Posts: 1088

French Cinema: A Student's Guide by Philip Powrie

French Cinema: A Student's Guide by Philip Powrie (Author), Keith Reader (Author)
Publisher: A Hodder Arnold Publication; Student edition (February 12, 2003) | ISBN-10: 0340760044 | PDF | 9 Mb | 224 pages

What are the Cahiers du cinema? Which are the most popular French films? How do you write an essay on a French film? What is a high-angle shot in French? When did more French spectators go to see American films than French films? Hoe do you talk about a short sequence of film?

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Joined: 23 Sep 2006 Posts: 1088

Film Structure and the Emotion System by Greg M. Smith

Film Structure and the Emotion System by Greg M. Smith (Author)
Publisher: Cambridge University Press (October 13, 2003) | ISBN-10: 0521817587 | PDF | 1,2 Mb | 230 pages

Synthesizing recent research on emotion in cognitive psychology and neurology, this study provides a more nuanced understanding of how film evokes emotion. Although the experience of emotion is central to movie-viewing, film studies have not focused on the emotions, relying instead on vague psychoanalytic concepts of desire. This volume describes a grounded approach to analyzing the emotional appeal of a wide variety of films (from Casablanca to Stranger than Paradise, from Renoir to Spielberg), showing how style and narration call upon the viewer's emotion system.

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Joined: 23 Sep 2006 Posts: 1088

Studying Film (Studying the Media) by Nathan Abrams

Studying Film (Studying the Media) by Nathan Abrams (Author), Ian Bell (Author), Jan Udris (Author)
Publisher: A Hodder Arnold Publication (September 6, 2001) | ISBN-10: 0340761334 | PDF | 19 Mb | 336 pages

This book offers students an accessible introduction to the study of film. It aims to stimulate students' enjoyment and understanding of a wide range of different types of film, and to give them an awareness of the nature of cinema as a medium, as an art form and as a social and economic institution. It is designed to encourage an understanding of the nature of personal responses to film and help students make use of the critical languages that have been developed to understand the ways in which films and spectators construct meaning. As such, it develops students' sense of the context in which films are produced, disseminated and consumed. Contemporary film is seen in context by tracing its development from 1895 to the present, exploring film production in a variety of countries in a range of styles. Cinema is also placed within the wider context of the media in terms of the growth of multinational conglomerates and increasing globalisation.

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Joined: 23 Sep 2006 Posts: 1088

Memory and Popular Film (Inside Popular Film) by Paul Grainge

Memory and Popular Film (Inside Popular Film) by Paul Grainge (Editor)
Publisher: Manchester University Press (September 6, 2003) | ISBN-10: 0719063744 | PDF | 1,3 Mb | 224 pages

Taking Hollywood as its focus, this timely book provides a sustained, interdisciplinary perspective on memory and film from early cinema to the present. Considering the relationship between official and popular memory, the politics of memory, and the technological and representational shifts that have come to effect memory's contemporary mediation, the book contributes to the growing debate on the status and function of the past in cultural life and discourse. By gathering key critics from film studies, American studies and cultural studies, Memory and Popular Film establishes a framework for discussing issues of memory in film and of film as memory. Together with essays on the remembered past in early film marketing, within popular reminiscence, and at film festivals, the book considers memory films such as Forrest Gump, Lone Star, Pleasantville, Rosewood and Jackie Brown.

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Joined: 23 Sep 2006 Posts: 1088

The Last Great American Picture Show

The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press - Film Culture in Transition) by Thomas Elsaesser (Editor), Noel King (Editor), Alexander Horwath (Editor)
Publisher: Amsterdam University Press (May 1, 2004) | ISBN-10: 9053564934 | PDF | 3,6 Mb | 348 pages

The French Connection, The Last Picture Show, M.A.S.H., Harold and Maude--these are only a few of the iconic films made in the United States during the 1970s. Originally considered a "lost generation," the 1970s are increasingly recognized as a crucial turning point in American filmmaking, and many films from the era have resurfaced from oblivion to become a reference for new directorial talents. The Last Great American Picture Show explores this pivotal era in American film history with a collection of essays by scholars and writers that firmly situates the decade as the time of the emergence of "New Hollywood."
Sam Peckinpah, Arthur Penn, Peter Bogdanovich, Monte Hellman, Bob Rafelson, Hal Ashy, Robert Altman, and James Tobac: these legendary directors developed innovative techniques, gritty aesthetics, and a modern sensibility in American film. Here, contributors compellingly argue that the cinema of today's major directors--Steven Spielberg, James Cameron, Quentin Tarantino, Ridley Scott, Robert Zemeckis--could not have come into existence without the groundbreaking works produced by the directors of the 1970s. A wholly engaging and long-overdue investigation of this important era in American film, The Last Great American Picture Show reveals how the films of the 1970s transformed the American social consciousness and influenced filmmaking worldwide.

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Joined: 23 Sep 2006 Posts: 1088

European Cinema: Face to Face with Hollywood

European Cinema: Face to Face with Hollywood by Thomas Elsaesser (Author)
Publisher: Amsterdam University Press (October 1, 2005) | ISBN-10: 9053566023 | PDF | 4,6 Mb | 566 pages

Has European cinema, in the age of globalization, lost contact not only with the world at large, but with its own audiences? Between the thriving festival circuit and the obligatory late-night television slot, is there still a public or a public sphere for European films? Can the cinema be the appropriate medium for a multicultural Europe and its migrating multitudes? Is there a division of representational labor, with Hollywood providing stars and spectacle, the Asian countries exotic color and choreographed action, and Europe a sense of history, place and memory?

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Joined: 23 Sep 2006 Posts: 1088

Understanding Cinema: A Psychological Theory of Moving Imagery by Per Persson

Publisher: Cambridge University Press (July 28, 2003) | ISBN-10: 052181328X | PDF | 8 Mb | 296 pages

Understanding Cinema analyzes the moving imagery of film and television from a psychological perspective. Per Persson argues that spectators perceive, think, apply knowledge, infer, interpret, feel and make use of knowledge, assumptions, expectations and prejudices when viewing and making sense of film. Drawing psychology and anthropology, he explains how close-ups, editing conventions, character psychology and other cinematic techniques work, and how and why they affect the spectator.

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Joined: 23 Sep 2006 Posts: 1088

Schirmer Encyclopedia of Film by Barry Keith Grant

Schirmer Encyclopedia of Film by Barry Keith Grant (Author)
Publisher: Schirmer Books; 1 edition (December 8, 2006) | ISBN-10: 0028657918 | PDF | 54 Mb

Grade 9 UpDrawing on authoritative, international contributors, information on film is extensively documented in this set, which is intended as a film-studies staple. The alphabetically arranged volumes are titled as follows: \"Academy AwardsCrime Films\"; \"CriticismIdeology\"; \"Independent FilmRoad Movies\"; and \"Romantic ComedyYugoslavia.\" Subtopics include countries, history, philosophies, and more, with information on individual movies often spread over several entries. Articles range from as few as 5 pages (\"Slapstick comedy\") to 17 pages (\"Italy\"). Contemporary topics, such as \"Gay, lesbian and queer cinema,\" are included along with more-expected entries on \"Teen films\" and \"Cinematography.\" See-also references guide readers to one or more related topics or subtopics, while further-reading suggestions provided after every entry list academic and popular articles and books. The more than 16,000 index entries, with major topics in bold type, make access straightforward. The text is highlighted with photographs varying in size, color, and clarity, along with brief biographies on related figures. While there is a plethora of good publications on film, such as Ephraim Katz\'s single-volume The Film Encyclopedia (HarperCollins, 2005) and his The Macmillan International Film Encyclopedia (2001), this set is more comprehensive and current. Public libraries and secondary schools, especially those with a focus on filmmaking, should plan to include it in their collections.

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Joined: 23 Sep 2006 Posts: 1088

The Cinema Effect by Sean Cubitt

The Cinema Effect by Sean Cubitt (Author)
Publisher: The MIT Press (March 1, 2004) | ISBN-10: 0262033127 | PDF | 6,5 Mb | 464 pages

It has been said that all cinema is a special effect. In this highly original examination of time in film Sean Cubitt tries to get at the root of the uncanny effect produced by images and sounds that don\'t quite align with reality. What is it that cinema does? Cubitt proposes a history of images in motion from a digital perspective, for a digital audience. From the viewpoint of art history, an image is discrete, still. How can a moving image--constructed from countless constituent images--even be considered an image?

And where in time is an image in motion located? Cubitt traces the complementary histories of two forms of the image'motion relationship--the stillness of the image combined with the motion of the body (exemplified by what Cubitt calls the "protocinema of railway travel") and the movement of the image combined with the stillness of the body (exemplified by melodrama and the magic lantern). He argues that the magic of cinema arises from the intertwining relations between different kinds of movement, different kinds of time, and different kinds of space. He begins with a discussion of "pioneer cinema," focusing on the contributions of French cinematic pioneers in the late nineteenth and early twentieth centuries. He then examines the sound cinema of the 1930s, examining film effects in works by Eisenstein, Jean Renoir, and Hollywood's RKO studio. Finally he considers what he calls "post cinema," examining the postwar development of the "spatialization" of time through slow motion, freeze-frame, and steadi-cam techniques. Students of film will find Cubitt's analyses of noncanonical films like Sam Peckinpah's Pat Garrett and Billy the Kid as enlightening as his fresh takes on such classics as Renoir's Rules of the Game.

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