American Film History: Selected Readings, Origins to 1960

This authoritative choice of introductory and really expert readings explores the wealthy and cutting edge background of this era in American cinema. Spanning a vital diversity of topics from the early 1900s Nickelodeon to the decline of the studio procedure within the Nineteen Sixties, it combines a wide old context with cautious readings of person motion pictures.

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A Companion to Michael Haneke (Wiley-Blackwell Companions to Film Directors)

A spouse to Michael Haneke is a definitive choice of newly-commissioned paintings that covers Haneke’s physique of labor in its entirety, catering to scholars and students of Haneke at a time while curiosity within the director and his paintings is soaring.

Introduces probably the most vital administrators to have emerged at the worldwide cinema scene some time past fifteen years.

Caters to scholars and students of Haneke at a time whilst curiosity within the director and his paintings is soaring.

Includes particular interviews with Michael Haneke, together with an interview dialogue of his most up-to-date movie, The White Ribbon.

Considers issues, issues, and topics that experience shaped the nucleus of the director’s life’s paintings: the destiny of eu cinema, Haneke in Hollywood, pornography, alienation, citizenship, colonialism, and the gaze of surveillance.

Features serious examinations of l. a. Pianiste, Time of the Wolf, 3 Paths to the Lake and Caché, among others.

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Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

Part I severe and Topical methods to Haneke’s Cinema.

1 Performative Self-Contradictions: Michael Haneke’s brain video games (Thomas Elsaesser).

2 5 Tapes, 4 Halls, desires: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).

3 Infectious photos: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and picture (Vinzenz Hediger).

4 monitoring Code Unknown (Tom Conley).

5 Michael Haneke and the recent Subjectivity: structure and movie (Peter Eisenman).

6 video games Haneke performs: fact and function (Brigitte Peucker).

7 Figures of Disgust (Christa Blümlinger).

8 with no tune: On Caché (Michel Chion).

9 scuffling with the Melodramatic : Haneke’s Polemics (Jörg Metelmann).

10 “Mourning for the Gods who've Died”: The function of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).

Part II the tv Films.

11 A depression hard work of affection, or movie version as Translation: 3 Paths to the Lake (Fatima Naqvi)

12 Michael Haneke and the tv Years: A analyzing of Lemmings (Peter Brunette).

13 diversifications on subject matters: Spheres and area in Haneke’s version (Monica Filimon and Fatima Naqvi).

14 Projecting wish, Rewriting Cinematic reminiscence: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).

15 (Don’t) glance Now: Hallucinatory paintings heritage in Who was once Edgar Allan? (Janelle Blankenship).

16 forms and visible type (Brian Price).

Part III The German-Language Theatrical Features.

17 buildings of Glaciation: Gaze, standpoint, and Gestus within the motion pictures of Michael Haneke (Georg Seeßlen).

18 The Void on the heart of items: Figures of id in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).

19 the way to Do issues with Violences (Eugenie Brinkema).

20 among Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).

21 Hollywood Endgames (Leland Monk).

Part IV The French-Language Theatrical Features.

22 classification clash and concrete Public house: Haneke and Mass Transit (Barton Byg).

23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).

24 Haneke's Secession: Perspectivism and Anti-Nihilism in Code Unknown and Caché (Kevin L. Stoehr).

25 The Unknown Piano instructor (Charles Warren).

26 Discordant wants, Violent Refrains: l. a. Pianiste (The Piano instructor) (Jean Ma).

27 Civilization’s unending Shadow: Haneke’s Time of the Wolf (Evan Torner).

28 The Intertextual and Discursive Origins of Terror in Michael Haneke’s Caché (T. Jefferson Kline).

Part V Michael Haneke Speaks.

29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).

30 Violence and the Media (Michael Haneke).

31 the realm that's identified: An Interview with Michael Haneke (Christopher Sharrett).

32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

Filmography.

Index.

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Bookmarked and searchable. Black and white images

Thanks to dubjazz @ KG for description and add.

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In 1897, Archibald Constable & corporation released a singular through the unheralded Bram Stoker. That novel, Dracula, has long gone directly to turn into possibly the main influential novel of all time. To commemorate the centennial of that groovy novel, Carol Margaret Davison has introduced jointly this number of essays by way of the various world's major students. The essays study Stoker's unique novel and have fun its legacy in pop culture. the continued presence of Dracula and vampire fiction and movies presents evidence that, as Davison writes, Dracula is "alive and sucking. "

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Die Dramatisierung von Innenwelten im Film

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Extra resources for American Film History: Selected Readings, Origins to 1960

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For David Bordwell and Janet Staiger, the introduction of synchronized sound can hardly be understood as a revolution. Rather, it exemplifies the flexibility of the system, “a typical case of how the Hollywood mode of production could accommodate technological change” (Bordwell & Staiger 1985, 247). What is clear is that sound came to cinema over a protracted period of experimentation, first outside the movie industry and then also within it, and it did so over the course of expanding applications before and after the October 1927 premiere of The Jazz Singer.

But the rise of mass culture, with the movies in the lead, now appears inseparable from the era of scandal sheets and speakeasies, the Scopes Trial that debated teaching Darwin’s theory of evolution in public schools, and the victory for women’s voting rights in 1920. Indeed, the New Morality of the period – leisure, consumption, and sexual independence – found expression in many films of the era. The migration from country to city that characterized the 1920s, and the harsh realities of that movement, were represented in King Vidor’s The Crowd (1928), which tells the story of John Sims who comes to New York to achieve success but finds struggle, heartbreak, and tragedy instead.

Few models existed for crafting a compelling and comprehensible narrative of under 20 minutes. While the theater and the short story might provide material for adaptation and even general principles of narrative construction, nothing could prepare filmmakers of the era for the challenge of how to translate the scenarios they were assigned into short films that audiences could easily grasp and find involving. Up to this point, most early films had expended little effort in establishing temporal relations among shots, nor had they attempted to invest characters with psychological motivations or molded the depicted action to elicit suspense or sympathy.

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