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Preface | |
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Picture Credits | |
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Introduction to Film Analysis | |
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Introduction | |
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Cinema: A Confluence of Artistry, Industry, and Technology | |
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How This Book Is Organized | |
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Technical Tips | |
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An Approach to Film Analysis | |
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Understanding Audience Expectations | |
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Expectations and Modes of Organization | |
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Expectations about Genres, Stars, and Directors | |
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The Orchestration of Detail | |
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Motifs | |
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Parallels | |
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Details and Structure | |
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Parallels in Openings and Closings | |
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Structure and Turning Points | |
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Repetition and Non-chronological Structure | |
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Creating Meaning Through the World Beyond Film | |
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Historical Events and Cultural Attitudes | |
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Stars as References | |
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Public Figures and Celebrities as References | |
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Intertextual References | |
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Avant-garde and Documentary References | |
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Meaningful References with Objects | |
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The Goal of Film Analysis: Articulating Meaning | |
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The Importance of Developing Interpretive Claims | |
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Summary | |
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Film Analysis: Reading Significant Details | |
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Historical References in Devil in a Blue Dress | |
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Writing About Film | |
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Getting Started | |
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Keeping a Film Journal | |
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Formulating a Thesis | |
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Four Types of Writing About Film | |
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The Scene Analysis Paper | |
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"The Divided Human Spirit in Fritz Lang's The Big Heat" | |
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The Film Analysis | |
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The Anxieties of Modernity in Steamboat Bill Jr. | |
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The Research Paper | |
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The Evolution of an Idea: The Changing Hollywood Aesthetic in The Conversation and Enemy of the State | |
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Works Cited (in the research paper) | |
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Conducting Archival Research | |
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The Popular Review | |
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Film Analysis | |
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Narrative Form | |
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Defining Narrative | |
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Framing the Fictional World: Diegetic and Non-Diegetic Elements | |
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Within the Diegesis: Selecting and Organizing Events | |
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Narrative Structure | |
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Techniques in Practice: Narrative Structure in Stagecoach | |
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Alternatives to Conventional Narrative Structure | |
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Variations on Narrative Conventions: Beyond Structure | |
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Perspective and Meaning | |
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Character Subjectivity | |
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Techniques in Practice: Noticing Shifts in Perspective | |
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Summary | |
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Film Analysis: Analyzing Narrative Structure | |
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The Narrative Complexity of Rashomon | |
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Mise en Scene | |
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Setting | |
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Describing Setting: Visual and Spatial Attributes | |
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The Functions of Setting | |
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Techniques in Practice: Same Film, Different Settings | |
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Techniques in Practice: Same Setting, Different Film | |
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The Human Figure | |
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Casting | |
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Acting Style | |
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Acting Brechtian: Distancing the Audience | |
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Actors' Bodies: Figure Placement | |
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Techniques in Practice: Figure Placement in Citizen Kane | |
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Actors' Bodies: Costumes and Props | |
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Actors' Bodies: Makeup | |
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Techniques in Practice: Physicality in Raging Bull and Ali | |
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Lighting | |
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Composition | |
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Balance and Symmetry | |
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Lines and Diagonals | |
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Framing | |
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Foreground and Background | |
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Light and Dark | |
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Color | |
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Two Approaches to Mise en Scene | |
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The Frame in Two Dimensions: Mise en Scene in German Expressionism | |
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Combining Mise en Scene and Camerawork: The Frame in Three Dimensions in French Poetic Realism | |
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Summary | |
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Film Analysis: The Functions of Space | |
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Spatial Oppositions in Thelma and Louise | |
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Cinematography | |
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Camerawork: The Camera in Time and Space | |
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Creating Meaning in Time: The Shot | |
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Altering Time: Slow and Fast Motion | |
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The Camera and Space: Height, Angle, and Shot Distance | |
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Camera Height | |
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Camera Angle | |
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Camera Distance | |
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Camera Movement: Exploring Space | |
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Horizontal and Vertical Movement | |
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Movement in Three Dimensions | |
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Techniques in Practice: Patterns of Camera Placement and Movement | |
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Lenses and Filters: The Frame in Depth | |
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The Visual Characteristics of Lenses: Depth of Field and Focal Length | |
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The Zoom Lens | |
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Combining Camera Movement and Lens Movement | |
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Through the Lens: Filters and Diffusers | |
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Techniques in Practice: Lenses and the Creation of Space | |
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Film Stock | |
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Characteristics of Film Stock | |
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Light and Exposure | |
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Film Stock and Color | |
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Wide Film and Widescreen Formats | |
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Processing Film Stock | |
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Special Visual Effects | |
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Manipulating the Image on the Set | |
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Creating Scene Transitions, Titles, and Credits: The Optical Printer | |
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Optical and Digital Compositing: Assembling the Elements of the Shot | |
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Computer-Generated Images | |
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Adding and Subtracting Frames | |
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Digital Cinema: Post-Production | |
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Digital Cinematography and Film Style | |
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Summary | |
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Film Analysis: Cinematography in Documentary Films | |
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Cinematography in Two Documentaries | |
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Editing | |
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The Attributes of Editing: Creating Meaning Through Collage, Tempo, and Timing | |
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Joining Images: A Collage of Graphic Qualities | |
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Tempo | |
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Shot Length | |
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Shot Transitions | |
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Adjusting the Timing of Shot Transitions | |
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Techniques in Practice: Using Contrasting Imagery and Timing to Romanticize the Outlaws in Bonnie and Clyde | |
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Story-Centered Editing and the Construction of Meaning | |
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Editing and Time | |
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Condensing and Expanding Time | |
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Suggesting the Simultaneity of Events | |
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Arranging the Order of Events | |
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Editing and Space | |
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Shot/Reverse Shot | |
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Eyeline Match | |
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Cutting to Emphasize Group Dynamics | |
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Cutaways | |
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Beyond Narrative: Creating Meaning Outside the Story | |
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Continuity Editing: Conventional Patterns and "Bending the Rules" | |
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Continuity and Space | |
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Continuity and Chronology | |
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"Breaking the Rules": The French New Wave and its Influence | |
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Associational Editing: Editing and Metaphor | |
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Soviet Montage | |
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Techniques in Practice: Soviet Montage Aesthetics in The Godfather | |
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Summary | |
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Film Analysis: Classical Editing | |
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Editing in Notorious | |
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Sound | |
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Film Sound: A Brief History | |
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Critical Debates over Film Sound | |
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Freeing Sound from Image | |
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The Relationship Between Sound and Image | |
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Emphasizing the Contrast Between Onscreen and Offscreen Space | |
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Emphasizing the Difference Between Objective Images and Subjective Sounds | |
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Emphasizing the Difference Between Diegetic Details and Non-diegetic Sound | |
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Emphasizing the Difference Between Image Time and Sound Time | |
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Emphasizing Differences in Image Mood and Sound Mood | |
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Three Components of Film Sound | |
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Dialogue | |
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Text and Subtext | |
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Volume | |
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Pitch | |
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Speech Characteristics | |
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Acoustic Qualities | |
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Addressing the Audience: the Voice-Over | |
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Sound Effects | |
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Functions of Sound Effects | |
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Characteristics of Sound Effects | |
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Techniques in Practice: Sound Effects and the Construction of Class in Days of Heaven | |
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Music | |
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Functions of Film Music | |
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Five Characteristics of Film Music | |
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Techniques in Practice: Bernard Herrmann's Score and Travis Bickle's Troubled Masculinity in Taxi Driver | |
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Summary | |
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Film Analysis: Sound and Language | |
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Language, Nationality, and Class in The Grand Illusion | |
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Alternatives to Narrative Fiction Film: Documentary and Avant-garde Films | |
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Three Modes of Filmmaking: A Comparison | |
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Documentary Film: "The Creative Treatment of Actuality" | |
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Narrative Documentaries | |
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Documentary Form | |
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Voice of Authority | |
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Talking Heads and Director-Participant | |
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Direct Cinema | |
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Self-reflexive Documentary | |
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The Mockumentary | |
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Ethics and Ethnography | |
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Avant-garde Film | |
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Surrealist Cinema | |
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Abstract Film | |
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Techniques in Practice: Interpreting Abstract Films | |
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The City Symphony | |
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Structuralist Film | |
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The Compilation Film | |
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Conducting Research on Documentary and Avant-garde Films: Locating Sources | |
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Summary | |
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Film Analysis: Interpreting Avant-garde Films | |
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Analyzing Meshes of the Afternoon | |
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Cinema and Culture | |
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Social Context and Film Style | |
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Hollywood's Industrial Context: The Studio System as Dream Factory | |
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Classical Style | |
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Economic Practice and Hollywood Convention | |
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Censorship and Hollywood Convention | |
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American Ideology and Entertainment | |
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Reaffirming or Resisting Dominant Ideology | |
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International Art Cinema | |
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The Ideology of "Art" | |
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Italian Neorealism | |
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Third Cinema | |
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Film and Ideology | |
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Ideology and Film Analysis | |
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Ideology and Film Spectatorship | |
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Anti-Communist Witch Hunts and Hollywood Cinema | |
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Racial Ideology and American Cinema | |
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Gender and Cinema | |
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Sexuality and Cinema | |
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Disability and Cinema | |
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Film Stardom as a Cultural Phenomenon | |
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Stars and the Movie Industry | |
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The Dynamics of Performance | |
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The Star Persona | |
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Stardom and Ideology | |
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Stars and Subcultures | |
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Fan Culture | |
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Genre | |
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What Makes a Genre? | |
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Major American Genres | |
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The Western | |
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Film Noir and the Hard-boiled Detective Film | |
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The Action Film | |
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The Science Fiction Film | |
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The Musical | |
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Genre, Film Production, and Audiences | |
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Genre Film and Aesthetic Appeal: Cliche or Strategic Repetition? | |
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Genre and the Status Quo | |
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Genres as Culturally Responsive Artifacts | |
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Genre and Film Authorship | |
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Film Authorship | |
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The Idea of the Auteur: From Cahiers du Cinema to the Sarris-Kael Debate | |
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Auteur as Marketing Strategy: Old and New Hollywood | |
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Studio-era Auteurs: Welles and Hitchcock | |
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Blockbuster Auteurs: Spielberg and Lucas | |
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Using the Auteur Approach to Interpret and Evaluate Films | |
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Readings in Auteur Criticism | |
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Ousmane Sembene | |
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Kathryn Bigelow | |
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Ang Lee | |
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Wong Kar Wai | |
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Jafar Panahi | |
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Cinema as Industry: Economics and Technology | |
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The Changing Structure of the Film Industry | |
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From Oligopolies to Conglomerates | |
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Horizontal Integration and Synergy | |
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Globalization | |
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Industry Labor Practices | |
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Outsourcing | |
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Runaway Productions | |
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Creative Centralization | |
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Films as Products | |
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The Blockbuster | |
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The High Concept Film | |
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Saturation Marketing | |
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Independent Film Culture | |
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Two Independent Institutions: Sundance and Miramax | |
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Film and the New Technology | |
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The Rise of the DVD | |
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Film and Digital Technologies | |
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Glossary | |
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Bibliography | |
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Index | |