Table of Contents

PrefaceIntroductionChapter One: Image and RealityIMAGES OF IMAGESThe “Truth” of the ImageThe Urge to Represent “Reality”Perspective and the Pleasures of Tricking the EyePhotography and RealityManipulation of the ImageReality as ImageFROM THE PHOTOGRAPHIC TO THE CINEMATIC IMAGEMoving ImagesNOTES AND REFERENCESChapter Two: Formal Structures: How Films Tell Their StoriesTHE IMAGE, THE WORLD, AND THE FILM STUDIOFrom Image to NarrativeTHE ECONOMICS OF THE IMAGEThe System Develops: Buster Keaton and Charlie ChaplinThe Growth of Corporate FilmmakingTHE CLASSICAL HOLLYWOOD STYLEFabricating the ImageThe Whole and Its PartsMaking the Parts InvisibleStory, Plot, and NarrationConvention And ConsciousnessNotes and ReferencesChapter Three: Building Blocks I: The ShotTHE SHOTCOMPOSITION: THE SIZE OF THE FRAMECineramaAnamorphic and “Flat” Wide Screen ProcessesLoss of StandardsHOW COMPOSITION WORKSComposition in Early Cinema D.W. GriffithThe 90-degree Rule The Studios and the ShotMISE-EN-SCÈNE, GERMAN EXPRESSIONISM, EXCEPTIONS TO THE RULESMISE-EN-SCÈNE IN STERNBERG, MURNAU, AND HITCHCOCKORSON WELLES AND THE REINVENTION OF COMPOSITIONDeep Focus and The Long TakeWORKING AGAINST THE RULESLIGHTING AND COLORCOMPOSING IN WIDE SCREENTHE MOVING CAMERANOTES AND REFERENCESChapter Four: Building Blocks II: The CutTHE DEVELOPMENT OF CONTINUITY CUTTINGGriffith and CuttingShot/Reverse ShotPoint Of ViewSight LinesThe 180-degree RuleCONVENTION, CULTURE, RESISTANCEGenderCodingResponses To Conventional CuttingEisensteinian MontageThe Narrative of the Classical StyleAvant-Garde FilmWorking Creatively Within and Against ConventionsNOTES AND REFERENCESChapter Five: The Story Tellers of Film ICOLLABORATION AS CREATIVITYCREATIVE CRAFTSPEOPLECinematographerProduction DesignerComputer DesignerSound DesignersEditorComposerScreenwriterActorsProducerNotes and ReferencesChapter Six: The Story Tellers of Film II: The Film DirectorEUROPEAN ORIGINSTHE BIRTH OF THE AUTEURTHE AUTEUR THEORYRobert AltmanMartin ScorseseStanley KubrickAlfred HitchcockWOMEN AUTEURSWomen’s Avant-garde FilmsMaya DerenAlice Guy-Blaché and Lois WeberDorothy ArznerIda LupinoWomen Filmmakers TodayJulie Dash, Julie Taymor, and Chantal AkermanTHE AUTEUR ABROADAUTEURISM TODAYNOTES AND REFERENCESChapter Seven: Film as Cultural PracticeFILM IN THE REALM OF CULTURECULTURE AS TEXTSubculturesMedia and CulturesThe New WebTHEORIES OF CULTUREThe Frankfurt SchoolThe Critique of American Popular CultureHigh Culture, Masscult, and MidcultWalter Benjamin and the Age of Mechanical ReproductionThe Aura of State Intervention The Birmingham School of Cultural StudiesReception and NegotiationJudgment and ValuesIntertextuality and PostmodernismCULTURAL CRITICISM APPLIED TO VERTIGO AND DIE HARDThe Cultural-Technological Mix: Film and TelevisionBruce Willis, TV, and MoviesThe Actor’s Persona: Bruce Willis and James StewartVertigo and the Culture of the FiftiesThe Kinsey Reports The Vulnerable Male in Film Postmodern VillainsEthnicity in Die HardThe Buddy FilmThe End of RedemptionNOTES AND REFERENCESChapter Eight: The Stories Told By Film IMASTER NARRATIVES AND DOMINANT FICTIONSClosureThe Master and the DominantNarrative ConstraintsCensorshipGENRESubgenresGenre and GestureGeneric OriginsGeneric Patterns: The Gangster FilmGenre and Narrative EconomyDOCUMENTARYNewsreels and TelevisionEarly Masters of the DocumentaryDziga Vertov and Esther Shub Robert Flaherty Pare Lorentz Leni Riefenstahl John Grierson and the British Documentary MovementWorld War IICinéma Vérité Television DocumentaryTHE GENRES OF FICTION FILMSMelodramaBroken Blossoms Now, Voyager CasablancaFilm NoirExpressionist Roots of Noir Hard-Boiled Fiction The Maltese Falcon Murder, My Sweet; Double Indemnity; Scarlet Street Anthony MannNoir’s Climax In A Lonely PlaceThe Wrong Man Kiss Me Deadly Touch of Evil Noir’s Rebirth NOTES AND REFERENCESChapter Nine: The Stories Told By Film IIOTHER GENRES: THE WESTERNThe LandscapeThe Obstacles to Westward ExpansionThe Western Star and the Western DirectorThe Western After the FiftiesSCIENCE FICTION Fritz Lang’s Metropolis Alien and Blade RunnerScience Fiction in the Fifties2001: A Space OdysseyGENRE RESILIENCE EUROPEAN AND OTHER CINEMASItalian Neorealism Bicycle Thieves Neorealism in America The French New Wave Jean-Luc Godard Michelangelo Antonioni Yasujiro Ozu DOUGLAS SIRK, RAINER WERNER FASSBINDER, AND TODD HAYNES: ONE GENRE, THREE WAYSThe FilmmakersThe Common ThreadThat Heaven Allows and Far From Heaven Race GenderFassbinder—Ali: Fear Eats the Soul The Influence of Bertolt Brecht The Gaze Fassbinder’s Narrative Happiness is Not Always FunBRIEF CONCLUSIONSNOTES AND REFERENCESGlossaryIndexDVD-ROM Contents

About the Author

Robert Kolker has taught film studies for over thirty years. He is the author of several books on film. A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman, published by Oxford University Press, is in its third edition. His book on European film, The Altering Eye, is now on the World Wide Web at http://otal.umd.edu/~rkolker/AlteringEye. He has recently published a "casebook" of criticism on Hitchcock's Psycho, and a companion collection of new essays on Kubrick's 2001: A Space Odyssey. He is editor of Oxford University Press's Handbook of Film and Media Studies and is currently writing a book on the films of Orson Welles and Stanley Kubrick.