Bordwell and Thompson Film Art 11 Edition Table of Cintents
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Through reading this book I've discovered why modernistic film
Institute this book in a pile of discarded books and picked it up because the cover was compelling, and I know zilch nigh the art and science of pic-making. I'k rather glad I did because this was an excellent introduction into the field, with a nice residuum of both application and theory and wide range of content covered from mainstream Hollywood to obscure experimental films, and from silent classics to modern digitally recorded cinema.Through reading this book I've discovered why mod movies leave me cold, compared to by ones; something I've never actually really been able to put my finger on in a technical way. Now I know information technology'south considering the pace of cutting between cameras has doubled over the by few decades, leaving everything, even not-action movies, having something of a corybantic Add together sort of experience. Also, mod movies are made with television and DVD releases in listen, making camera work focus more on close-ups and a fix grade of easily partitioned scenes rather than yard-tableau long-shots and theatrically inspired middle shots. Now I know this, I have better idea of what in mind to look for when sorting out new releases to view.
While I'm non especially interested in picture criticism, either consuming information technology or producing it; and this book is geared towards a pedagogical inculcation of formalist principles of moving-picture show criticism, there is much that everyone who is interested in watching movies, or making movies tin can glean from this textbook. Even if you're but making youtube videos for fun, reading this would give y'all a lot of technical artful tools for making your videos seem a lot more polished with no extra time or money cost other than changing the way you handle your cameras and your lighting. If making an small indie motion-picture show is your goal, well, the chapter on the business finish of movie making and product will likely put something of a reality check on your ambitions (take the fourth dimension and money you remember you will need and double it). Even I didn't know how many specialists skills it takes to make a movie to completion and then distribute it.
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It's not a manual book of pic techniques. Nevertheless it does embrace that bug from an artsy bespeak of view. This volume discusses elements of films (e.1000., shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, and many more), precisely on how they constitue the overall l
Film Fine art was my offset book on film studies. I was non yet an avid picture show students by then, but this book captured my interest so deep equally then information technology made me impatiently waiting for my future picture show-report classes.It's not a transmission book of flick techniques. Still it does encompass that issues from an artsy bespeak of view. This book discusses elements of films (due east.m., shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, and many more than), precisely on how they constitue the overall expect as well every bit meaning of a picture. The vast explanations on every capacity are very informative for freshies in moving-picture show study as they tin sympathize film and the elements deeper than common viewers.
I call back, after readers dwell on this volume, they won't see the moving picture as they were. Their mind volition questioned and analyzed the effectiveness and the appropriateness of the elements on films.
In brusque, when I was a film educatee I found this book helped me a lot in shaping my film'south critical skills. It was a dandy companion while I worked trough my weekly movie journals.
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I was first introduced to kickoff edition of the text mode back in the late 1970s when information technology was smaller
Anyone with an involvement in motion-picture show or who likes to watch movies with an understanding of the processes that involve filmmaking, volition go something from this excellent edition of a text volume that has go the staple of motion picture studies in a formal educational setting. Motion picture Art: An Introduction (Eighth Edition) by David Bordwell and Kristin Thompson is an splendid updating of a great motion picture resource text.I was first introduced to start edition of the text way back in the late 1970s when it was smaller and contained fewer color pictures. The new Eighth Edition has color plates throughout, updated filmography and a CD-ROM disc addition, what the volume blurb touts equally "text-specific Tutorial CD-ROM with video clips", that greatly enhances the depth and applicability of the subject area for the cineaste, the casual reader, and the student. About letter-size 11 inches by 8 and a half, simply with the glossy pages containing a very generous option of moving-picture show stills, weighing in at 4 pounds (this is more than some of the new laptops), it is substantial only the size makes holding papers in between the pages quite user-friendly.
Comprehensive in scope, and structured to embrace the manufacture also as aesthetic concerns of film and newer media developments in video, Film Art is set up in six parts with a total of 12 chapters.
Role One, Movie Art and Filmmaking, Chapter 1 "Motion picture as Art: Inventiveness, Engineering, and Business organization", is a good introduction in which the authors talk about the basic activity surrounding pic. An overview of the major film companies and distributors too equally some perspective on the collaborative creativity involved from many diverse areas such as financing, marketing, and art direction, planning, and others, complete this section. What holds the viewer interested in Comparative Literature or a Postal service-Modernist evaluation of Moving-picture show is primarily attended to in Role Two, Film Form, in which the authors hash out the principles a filmmaker uses to construct a motion-picture show.
Chapter 2 "The Significance of Film Form", covers grade of a motion-picture show and the significance of how it compares confronting the content in a film, and ultimately what those elements mean. At that place is a breakdown of the structural properties of The Wizard of Oz, as an example, and how the elements used in the movie are designed to create meaning.
Affiliate 3 "Narrative equally a Formal Organisation", covers what narrative is, ultimately defining the concept as a cause-and-upshot concatenation of events occurring over a period of time. The authors talk about the films like Citizen Kane and others that manipulate fourth dimension elapsing, and causality to create meaning. My favorite section is Part Three Pic Fashion, because it covers a number of aesthetic elements and gives good examples that be in electric current films and examples too from historical artifacts.
In Affiliate 4 "The Shot: Mise-en-scene", the Bordwell and Thompson talk nigh the elusive French term and what it encompasses, covering two of my favorite films His Daughter Friday, and 81/2. The section also discusses camera set ups and how the role player, and virtually everything that the photographic camera sees is office of the mise en scene.
Affiliate v "Cinematography" covers details of focal length, lens pick, and lab work like 'pushing' film in evolution to get more than dissimilarity, and is well explicated for the photographer who used film stock and development procedures to strop his craft. My interest is in putting together a consummate visual flick and in Chapters vi and seven Bordwell and Thompson cover these elements clearly.
In Chapter vi "The Relation of Shot to Shot: Editing", covering LA Confidential, The Birds, The Maltese Falcon and others, the authors talk about how editing shots together can create a pace and outcome the viewer. This section has the most key value to the film viewer who ultimately looks to the movie itself when analyzing motion-picture show. I believe that the visual medium of filmmaking holds the meaning that so much theory attempts to uncover- Bordwell and Thompson seem to be at their strongest when evaluating purely visual value of movies aside from the theory.
One of the virtually overlooked elements in student films is discussed in Chapter 7 "Sound and the Cinema", in which the authors talk nigh sound bridges, how sound tin can add focus to scene and in detail how audio in Jackie Brown adds meaning to the pic.
Another of my favorite sections is Chapter 8 "Style as a Formal System" which covers how many combined elements such as mise-en-scene, cinematography, editing and audio are combined by a filmmaker to develop a manner. The authors talk about how style is plastic to the filmmaker and what it means to the viewer.
Again the elusive elements are well highlighted by the authors as they draw on visual examples to make their points. Part Four, Types of Films, covering Motion-picture show Genres and Documentary, Experimental, and Animated Films, explicating what Genre is, and how to analyze a genre is a skillful section for the archivist or one who is interested in classifications. The department covers the Western, Horror, Musical and talks virtually the ultimate social function of genre.
Part Five Critical Assay of Films, Affiliate 11, "Motion-picture show Criticism: Sample Analyses", with an Appendix on page 431 which covers how to organize your thinking in terms of writing near Film, with fine sample writing. I have turned to this section time and once more to go a good agreement of how to call back through a movie in terms of lighting, acting, art management, photographic camera movement, cinematography, direction and other possible give-and-take points such as political themes, feminist bespeak of view, or even marketing concepts. Bordwell and Thompson excel in putting forth fine ideas, and generously, for the reader.
Function Six Film History, Chapter 12, "Motion picture Art and Film History" looks at early picture palace the Hollywood Cinema, Soviet Montage, French New Wave, Italian Neorealism and others and equally an overview, covers many of the historical movements of flick. This chapter also contains facts concerning the Asian marketplace. Every chapter concludes with "Where to go From Here" a selection of current places to expand one'south understanding and teaching of picture and flick-making industry.
Page 472 at the cease of the book continues this pattern with boosted bachelor texts from Full general through to French and Italian and upward to the New Hollywood and Independent Filmmaking, and Contemporary Hong Kong Movie house.
The CD-ROM included covers many films with sample quizzes that let the viewer to really but dust off his understanding of certain films and make it synch with the lexicon that the authors utilize to communicate film art. This is a great buy for anyone who love movies.
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One interesting thing most flick is that
A fairly decent but not great book on motion-picture show fine art, this book is more virtually the technical aspects of moviemaking and the history of flick than seeking to find what makes film neat or even art at all. So information technology comes beyond as big informative rather than enlightening. I've read many books on movie and am a tremendous "Criterion" cinephile, really my point in reading a currently used college textbook was to find out what I didn't know, and there were a few things.1 interesting thing well-nigh picture show is that there doesn't seem to be much consensus as to what constitutes swell art in film, or why a pic might be considered better than another, part of it may be that movie is such a collaborative try, with so many rich components. Although the director may be the auteur, other parties play a part. This volume does a pretty practiced job walking through the various aspects of film, but information technology's very topical, and not very adept at integrating ideas.
It has some nicely presented and helpful examples and flick stills, but these aren't particularly dandy.
Overall, a decent book, perhaps more than on an introductory level, but it does mention tons of films, many mediocre, which makes it hard to follow, so I'1000 not sure if I would recommend it to anyone. The highlight for me anyway was it's treatment of the picture show "Chungking Express" which recently saw for the commencement time.
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My main criticism of the volume is the format of 1) stills from a film and 2) associated sentences or paragraphs of text explaining what the reader should be learning.
This format leaves something to be desired when talking most the pacing or tempo of a moving-picture show, an essential aspect of experie
A decent textbook focussed on different aspects of how to analyze a picture show – definitions and discussions of what constitutes narrative in film, examinations of the roles of editing/cinematography/lighting choice –My chief criticism of the book is the format of 1) stills from a film and 2) associated sentences or paragraphs of text explaining what the reader should be learning.
This format leaves something to be desired when talking about the pacing or tempo of a film, an essential aspect of experiencing a film (I must think of some good examples!)
Very good bibliographies at the finish of each chapter – this volume has gotten me reading many other books and articles about film by Ingmar Bergman, Andrei Tarkovsky, François Truffaut, Lotte Eisner, Siegfried Kracauer, Bruce Kawin, Nib Nichols and many more.
Too be brash: at to the lowest degree in my copy (8th edition), the included CD-ROM does non role properly unless your computer has a PowerPC processor.
I look forrard to learning about more recent editions of this volume!
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a) extraordinary didactic design
b) excellent introduction into concepts of film production, theory (especially style), typology and history
c) a great amount of sensibly selected and properly commented examples
On the other manus, in my view there are some weaknesses:
1) the chapter on sound failed to convey information to me as well equally the other chapters did
ii) I am non convinced by the authors' conceptual separation of style and grade
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But in the end, thes
This volume earns its prize and praise past itsa) extraordinary didactic design
b) excellent introduction into concepts of film production, theory (particularly style), typology and history
c) a nifty corporeality of sensibly selected and properly commented examples
On the other mitt, in my view there are some weaknesses:
1) the chapter on sound failed to convey information to me likewise every bit the other capacity did
ii) I am non convinced by the authors' conceptual separation of style and form
..
But in the stop, these points do non outweigh the overall high quality of this volume. Can recommended this to anyone interested in film and/or any adjacent art.
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Gives you lot a overnice repertoire for analysing the structure of unlike kinds of movie theatre, from the very beginning with the Lumière's train, upwardly through the silent era and beyond, including experimental films, animated films, and documentaries. What bothers me nigh about the book, is that it'south a textbook that happens to be about a subject I similar. As a event, it's a chip bland in its descriptions, especially if you know some basic things virtually the art earlier you delve in.
Bordwell/Thomps
Read for schoolGives you a nice repertoire for analysing the construction of dissimilar kinds of movie theater, from the very beginning with the Lumière's train, up through the silent era and beyond, including experimental films, animated films, and documentaries. What bothers me most well-nigh the book, is that it's a textbook that happens to be well-nigh a subject I like. As a result, it's a bit bland in its descriptions, specially if you know some bones things near the art earlier you delve in.
Bordwell/Thompson usually go in depth about _one_ film every chapter, and use it every bit an example of the chapter'south subject. It's worth noting that if I hadn't seen the film (like Hitchcock's 'The Birds', which was used every bit one signal of analysis), information technology was practically useless, even with the in-depth plot recap and pictures to follow along. And it's understandable, the mediums beauty lies in the medium, which cannot be re-imagined in book-course. Therefore, I think the authors should take removed some of the padding catering to analysis of the films and but outright land that they expect you to accept seen the movie to able to follow along, it would have made the pacing of the volume that much better. I simply ended upwardly skimming through the tiresome parts anyhow, simply I don't like it, because I get fearful that I miss something important.
My favourite things nigh the book, was that it was open for different interpretations of motion picture – there wasn't a right or a wrong way. What they did, was to help you along the way by explaining the general tools films use in regards to convey a narrative in a fashion the audience finds natural, and pulls in examples of directors who deliberately does the opposite. Information technology is clear that the authors holds an enormous library of film history within their minds, which makes yous selection up several good motion picture suggestions, too as you are likely to read most some of your favourites. I'm a bit disappointed they defended so much time to golden-era Hollywood films, every bit I'm not generally a fan of them myself, but it'south understandable equally they laid the foundations for virtually of the narrative characteristic films you encounter to this day.
As a textbook, information technology is useful, merely if I were to read about film in my spare time, I think I would take searched for something a scrap more unique and opinionated personally.
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This text needs more than headings and signaling of what will be discussed where.
paragraphs will contain 2 partially related Ideas separated by a string of examples. you take to piece of work harder to get the relevant information that you would have to work if the volume was improve organized.
I bought a used copy
Very informative, but could be better organized. I learned a lot, but unless I have notes then sort the Information it is unlikely to stick to my encephalon because the arrangement isn't intuitive.This text needs more headings and signaling of what will be discussed where.
paragraphs volition contain two partially related Ideas separated past a string of examples. you accept to work harder to get the relevant information that you would take to work if the book was ameliorate organized.
I bought a used copy of an old edition of this textbook considering it was cheap. ii years subsequently, you lot can probably option up a later edition and information technology will likely exist worth the update histories
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The descriptions of many films are given in excruciating detail, sometimes for no detail reason, and that made it difficult to read the book the whole fashion through instead of skimming sure bits. Many chapters felt incredibly repetitive and frankly didn't need then many examples to illustrate the point. The function well-nigh the history of the cinema was very surfa This was a CHORE. To be fair, it's a textbook and information technology reads like ane. Don't expect for whatsoever of the authors' personality between these pages.
The descriptions of many films are given in excruciating detail, sometimes for no detail reason, and that made it difficult to read the book the whole way through instead of skimming certain bits. Many chapters felt incredibly repetitive and bluntly didn't need then many examples to illustrate the point. The office most the history of the movie theater was very surface level and insubstantial (and the authors said as much) to the point that it almost made no sense to have information technology in the book, particularly since the same authors already take a separate book dealing with this topic.
However, it gives the reader a bigger picture of the industry and the art class if they never systemised their cognition virtually them. Although, to be honest, I don't know who this book's target audience is, since it's too basic for anyone already interested in motion picture and chosing it as a career, but too dry and almost bookish for a laywoman like myself. ...more
This book has been effectually and is highly influential. Information technology seems like every other moving picture textbook has copped its structure, examples, and terminology, yet dropping the clarity and precision of the original. Whatsoever your feelings on neoformalism, Bordwell is an actual thinker and he sticks to his paradigm through every chapter.
The function-based analysis is very like shooting fish in a barrel to explain but can be
This book is very skilful. I used it to teach a moving-picture show class this semester after comparing it to another standard text.This book has been around and is highly influential. It seems like every other picture textbook has copped its construction, examples, and terminology, withal dropping the clarity and precision of the original. Whatever your feelings on neoformalism, Bordwell is an actual thinker and he sticks to his paradigm through every chapter.
The function-based analysis is very easy to explain but can be very hard for students to actually employ in their coursework. It demands that yous respond with an agile argument: the style of framing in this scene serves this narrative office... serves this stylistic role. Everything does something. It'south tricky for people who are used to passive media consumption, though information technology seems similar that's exactly the skill you should expect to develop in a motion picture appreciation form.
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My other supplemental textbook to my intro course for movie studies. This textbook has many examples of dissimilar techniques used throughout film history. Really keen stuff for those interested in the discipline and even those who only have a passing interest.
If yous're a film dork, it's an informative, instructive read.
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