| |
| |
| |
| Film as an Art | |
| |
| |
| The Nature of Art | |
| |
| |
| The Spectrum of Art: Modes of Discourse | |
| |
| |
| Film, Recording, and the Other Arts | |
| |
| |
| Film, Photography, and Painting | |
| |
| |
| Film and the Novel | |
| |
| |
| Film and Theater | |
| |
| |
| Film and Music | |
| |
| |
| Film and the Environmental Arts | |
| |
| |
| The Structure of Art | |
| |
| |
| |
| Technology: Image and Sound | |
| |
| |
| Art and Technology | |
| |
| |
| Image Technology | |
| |
| |
| Sound Technology | |
| |
| |
| The Lens | |
| |
| |
| The Camera | |
| |
| |
| The Filmstock | |
| |
| |
| Negatives, Prints, and Generations | |
| |
| |
| Aspect Ratio | |
| |
| |
| Grain Gauge, and Speed | |
| |
| |
| Contrast, Tone, and Color | |
| |
| |
| The Soundtrack | |
| |
| |
| Post-Production | |
| |
| |
| Editing | |
| |
| |
| Mixing and Looping | |
| |
| |
| Special Effects | |
| |
| |
| Opticals and the Laboratory | |
| |
| |
| The Uses of Video | |
| |
| |
| Projection | |
| |
| |
| |
| The Language of Film: Signs and Syntax | |
| |
| |
| Signs | |
| |
| |
| The Physiology of Perception | |
| |
| |
| Denotative and Connotative Meaning: Reading the Image | |
| |
| |
| Syntax | |
| |
| |
| Codes | |
| |
| |
| Mise en Scene (The Framed Image) | |
| |
| |
| The Diachronic Shot | |
| |
| |
| Sound | |
| |
| |
| Montage | |
| |
| |
| Reading the Narrative | |
| |
| |
| |
| The Shape of Film History | |
| |
| |
| ""The Movies"": Economics | |
| |
| |
| The Birthe of Film | |
| |
| |
| The Silent Business | |
| |
| |
| Sound | |
| |
| |
| The Studios | |
| |
| |
| Film versus Television | |
| |
| |
| the Conglomerates and Independents | |
| |
| |
| ""The Film"": Politics | |
| |
| |
| Ontological Level | |
| |
| |
| Mimetic Level | |
| |
| |
| Inherent Level | |
| |
| |
| Psychopolitics | |
| |
| |
| Sociopolitics | |
| |
| |
| ""The Cinema"": Esthetics | |
| |
| |
| Creating an Art | |
| |
| |
| Lumiere versus Melies | |
| |
| |
| The Silent Feature: Realism versus Expressionism | |
| |
| |
| Hollywood: Genre versus Auteur | |
| |
| |
| Neorealism and After: Hollywood versus the World | |
| |
| |
| The New Wave and the Third World: Entertainment versus Communication (The New Wave | |
| |
| |
| Avant Gard, Direct Cinema and Cinema Verite | |
| |
| |
| England | |
| |
| |
| Italy | |
| |
| |
| Sweden | |
| |
| |
| Eastern Europe | |
| |
| |
| The Third World | |
| |
| |
| Japan and Asia | |
| |
| |
| New French Cinema | |
| |
| |
| Das Neue Kino | |
| |
| |
| Swiss Cinema | |
| |
| |
| American Film Now) | |
| |
| |
| The Eighties and Beyond: Democracy and Technology: End of Cinema | |
| |
| |
| |
| Film Theory: Form and Function | |
| |
| |
| The Poet and the Philosopher: Lindsay and Munsterberg | |
| |
| |
| Expressionism and Realism: Arnheim and Kracauer | |
| |
| |
| Montage: Pudovkin, Eisenstein, Balazs, and Formalism | |
| |
| |
| Mise en Scene: Neorealism, Bazin, and Godard | |
| |
| |
| Film Speaks and Acts: Metz and Contemporary Theory | |
| |
| |
| |
| Media | |
| |
| |
| Print and Electronic Media | |
| |
| |
| The Technology of Mechanical Electronic Media | |
| |
| |
| Radio and Records | |
| |
| |
| Television and Video | |
| |
| |
| A Concluding Note: Media Democracy | |
| |
| |
| |
| A Standard Glossary for Film and Media Criticism | |
| |
| |
| |
| Reading about Film and Media | |
| |
| |
| |
| A Basic Library | |
| |
| |
| |
| Information | |
| |
| |
| |
| Film and Media: A Chronology | |
| |
| |
| Index | |