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Preface | |
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Film Art and Filmmaking | |
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Film as Art: Creativity, Technology, and Business | |
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Film Artistry in Shadow of a Doubt | |
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Box: A Closer Look: Picking out Patterns | |
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Mechanics of the Movies | |
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Illusion Machined | |
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Making the Movie: Film Production | |
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The Scriptwriting and Funding Phase | |
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The Preparation Phase | |
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Shooting Phase | |
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The Assembly Phase | |
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Box: A Closer Look: Some Terms and Roles in Film Production | |
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Artistic Implications of the Production Process | |
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Modes of Production | |
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Large-Scale Production | |
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Exploitation and Independent Production | |
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Small-Scale Production | |
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Artistic Implications of Different Modes of Production | |
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Box: A Closer Look: Convergences: Film and Video | |
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Bringing the Film to the Audience: Distribution and Exhibition | |
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Distribution: The Center of Power | |
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Exhibition: Theatrical and Nontheatrical | |
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Box: Movies on Screen: A 2004 Profile of Theatrical Exhibition | |
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Artistic Implications of Distribution and Exhibition | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVDs | |
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Recommended DVD Supplements | |
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Film Form | |
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The Significance of Film Form | |
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The Concept of Form in Film | |
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Form as System | |
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"Form" Versus "Content" | |
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Formal Expectations | |
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Conventions and Experience | |
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Form and Feeling | |
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Form and Meaning | |
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Evaluation | |
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Principles of Film Form | |
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Function | |
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Similarity and Repetition | |
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Difference and Variation | |
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Development | |
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Unity and Disunity | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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Narrative as a Formal System | |
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Principles of Narrative Construction | |
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Plot and Story | |
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Cause and Effect | |
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Time | |
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Space | |
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Box: A Closer Look: Playing Games with Story Time | |
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Openings, Closings, and Patterns of Development | |
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Narration: The Flow of Story Information | |
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Range of Story Information | |
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Depth of Story Information | |
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The Narrator | |
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Summing Up Narration | |
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The Classical Hollywood Cinema | |
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Narrative Form in Citizen Kane | |
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Overall Narrative Expectations in Citizen Kane | |
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Plot and Story m Citizen Kane | |
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Citizen Kane's Causality | |
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Time in Citizen Kane | |
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Motivation Citizen Kane | |
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Citizen Kane's Parallelism | |
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Patterns of Plot Development in Citizen Kane | |
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Narration in Citizen Kane | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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Film Style | |
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The Shot: Mise-en-Scene | |
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What Is Mise-en-Scene? | |
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Aspects of Mise-en-Scene | |
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Setting | |
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Costume and Makeup | |
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Lighting | |
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Staging: Movement and Performance | |
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Box: A Closer Look: The Film Actor's Toolkit | |
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Putting It All Together: Mise-en-Scene in Space and Time | |
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Space | |
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Time | |
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Narrative Functions of Mise-en-Scene in Our Hospitality | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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The Shot: Cinematography | |
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The Photographic Image | |
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The Range of Tonalities | |
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Speed of Motion | |
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Perspective | |
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Box-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Rings | |
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Framing | |
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Frame Dimensions and Shape | |
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Box: A Closer Look: Common Aspect Ratios of 35mm Film | |
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Onscreen and Offscreen Space | |
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Angle, Level, Height, and Distance of Framing | |
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The Mobile Frame | |
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Duration of the Image: The Long Take | |
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Functions of the Long Take | |
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The Long Take and the Mobile Frame | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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The Relation of Shot to Shot: Editing | |
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What Is Editing? | |
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Dimensions of Film Editing | |
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Graphic Relations Between Shot A and Shot B | |
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Rhythmic Relations Between Shot A and Shot B | |
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Spatial Relations Between Shot A and Shot B | |
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Temporal Relations Between Shot A and Shot B | |
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Continuity Editing | |
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Spatial Continuity: The 180[Degrees] System | |
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Continuity Editing in The Maltese Falcon | |
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Continuity Editing: Some Fine Points | |
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More Refinements: Crossing the Axis of Action | |
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Crosscutting | |
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Temporal Editing: Order, Frequency, and Duration | |
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Box: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editing | |
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Alternatives to Continuity Editing | |
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Graphic and Rhythmic Possibilities | |
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Spatial and Temporal Discontinuity | |
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Functions of Discontinuity Editing: October | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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Sound in the Cinema | |
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The Powers of Sound | |
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Fundamentals of Film Sound | |
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Perceptual Properties | |
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Selection, Alteration, and Combination | |
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Dimensions of Film Sound | |
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Rhythm | |
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Fidelity | |
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Space | |
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Box: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown | |
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Time | |
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Functions of Film Sound: A Man Escaped | |
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Fontaine's Commentary | |
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Sound Effects and Narration | |
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Sound Motifs | |
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Music | |
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A Sample Sequence | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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Summary: Style as a Formal System | |
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The Concept of Style | |
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Style and the Filmmaker | |
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Style and the Viewer | |
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Analyzing Film Style | |
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Determine the Organization Structure | |
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Identify the Salient Techniques Used | |
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Trace Out Patterns of Techniques | |
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Propose Functions for the Salient Techniques and the Patterns They Form | |
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Style in Citizen Kane | |
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Summary | |
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Where to Go from Here | |
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Recommended DVD Supplements | |
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Types of Films | |
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Film Genres | |
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Understanding Genre | |
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Defining a Genre | |
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Analyzing a Genre | |
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Genre History | |
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Box: A Closer Look: A Contemporary Genre: The Crime Thriller | |
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The Social Functions of Genres | |
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Three Genres | |
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The Western | |
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The Horror Film | |
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The Musical | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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Documentary, Experimental, and Animated Films | |
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Documentary | |
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What Is a Documentary? | |
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Types Documentary | |
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The Boundaries Between Documentary and Fiction | |
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Types of Form in Documentary Films | |
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Categorical Form | |
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Rhetorical Form | |
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Experimental Film | |
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Types of Form in Experimental Films | |
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Abstract Form | |
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Associational Form | |
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The Animated Film | |
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An Example of Narrative Animation: Duck Amuck | |
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An Example of Experimental Animation: Fuji | |
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Summary | |
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Where to Go from Here | |
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Websites | |
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Recommended DVD Supplements | |
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Critical Analysis of Films | |
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Film Criticism: Critical Analyses | |
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The Classical Narrative Cinema | |
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His Girl Friday | |
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North by Northwest | |
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Do The Right Thing | |
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Narrative Alternatives to Classical Filmmaking | |
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Breathless (A Bout de Souffle) | |
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Tokyo Story (Tokyo Monogatari) | |
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Chungking Express (Chung Hing sam lam) | |
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Documentary Form and Style | |
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Man with a Movie Camera (Chelovek s kinoapparatom) | |
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The Thin Blue Line | |
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Form, Style, and Ideology | |
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Meet Me in St. Louis | |
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Raging Bull | |
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Writing a Critical Analysis of a Film | |
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Preparing to Write | |
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Develop a Thesis That Your Essay Will Explain and Support | |
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Draw Up a Segmentation of the Entire Film | |
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Note Outstanding Instances of Film Technique | |
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Organizing and Writing | |
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Summary | |
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Sample Essay: Fantasy and Reality in The King of Comedy | |
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Where to Go from Here | |
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Sample-Analysis Films on DVD | |
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Film History | |
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Film Art and Film History | |
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Early Cinema (1893-1903) | |
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The Development of the Classical Hollywood Cinema (1908-1927) | |
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German Expressionism (1919-1926) | |
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French Impressionism and Surrealism (1918-1930) | |
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Impressionism | |
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Surrealism | |
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Soviet Montage (1924-1930) | |
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The Classical Hollywood Cinema After the Coming of Sound | |
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Italian Neorealism (1942-1951) | |
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The French New Wave (1959-1964) | |
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The New Hollywood and Independent Filmmaking | |
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Contemporary Hong Kong Cinema | |
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Where to Go from Here | |
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Recommended DVDs | |
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Recommended DVD Supplements | |
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Glossary | |
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Credits | |
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Index | |