Film History: An Introduction (4th Edition)

Download Film History: An Introduction (4th Edition) written by Kristin Thompson, David Bordwell in PDF format. This book is under the category History and bearing the isbn/isbn13 number 0073514241 / 1259870359/9780073514246 / 9781259870354. You may reffer the table below for additional details of the book.


SKU: 0e0b24fc303d Category: Tags: ,



Kristin Thompson, David Bordwell


McGraw-Hill Higher Education; 4th edition




800 pages






0073514241 / 1259870359


9780073514246 / 9781259870354

Book Description

Film History: An Introduction, 4th edition (ePub) is a comprehensive global survey of the medium that covers the development of every film genre, from comedy and drama to documentary and experimental film. It was written by David Bordwell and Kristin Thompson, two of the leading scholars in the field of film studies. The events and ideas are represented with frame enlargements obtained from the original sources, which provides college students with more realistic points of reference than competing ebooks that rely on promotional stills. The fourth edition of Film History has been meticulously revised, and it now features the very first comprehensive overviews of how globalization and digital technologies have affected the motion picture industry. Read and preserve a copy of the fourth edition of Film History if you are a serious film scholar, whether you are an undergraduate student, a professor, or a graduate student. The author maintains a blog, which can be accessed at

PLEASE BE AWARE That buying this product will not get you access to connect or any other online code. This only includes the unaltered, original digital ebook version of “Film History: An Introduction,” which is in epub format; however, a converted PDF version is also available upon request.

Table of contents

Table of contents :
Title Page
Copyright Page
About the Authors
Preface to the Fourth Edition
Part One: Early Cinema
Chapter 1: The Invention And Early Years Of The Cinema, 1880S–1904
The Invention of the Cinema
Preconditions for Motion Pictures
Major Precursors of Motion Pictures
An International Process of Invention
Early Filmmaking and Exhibition
Scenics, Topicals, and Fiction Films
Creating an Appealing Program
Box: The Spread Of The Cinema Around The World: Some Representative Examples
The Growth of the French Film Industry
Box: Georges Méliès, Magician Of The Cinema
England and the Brighton School
The United States: Competition and the Resurgence of Edison
Chapter 2: The International Expansion Of The Cinema, 1905–1912
Film Production in Europe
France: Pathé versus Gaumont
Italy: Growth through Spectacle
Denmark: Nordisk and Ole Olsen
Other Countries
The Struggle for the Expanding American Film Industry
The Nickelodeon Boom
The Motion Picture Patents Company versus the Independents
Social Pressures and Self-Censorship
The Rise of the Feature Film
The Star System
The Movies Move to Hollywood
Box: The Beginnings Of Film Animation
The Problem of Narrative Clarity
Early Moves toward Classical Storytelling
Box: D. W. Griffith And Albert Capellani: Two Early Masters Of The Cinema
An International Style
Chapter 3: National Cinemas, Hollywood Classicism, And World War I, 1913–1919
The American Takeover of World Markets
The Rise of National Cinemas
Box: The Brief Heyday Of The Serial
The Classical Hollywood Cinema
The Major Studios Begin to Form
Controlling Filmmaking
Filmmaking in Hollywood during the 1910s
Box: Precision Staging In European Cinema
Films and Filmmakers
Streamlining American Animation
Trends in Smaller Producing Countries
Part Two: The Late Silent Era, 1919–1929
Chapter 4: France In The 1920s
The French Film Industry after World War I
Competition from Imports
Disunity within the Film Industry
Outdated Production Facilities
Major Postwar Genres and Filmmakers
The French Impressionist Movement
The Impressionists’ Relation to the Industry
Box: A Chronology Of French Impressionist Cinema
Impressionist Theory
Formal Traits of Impressionism
The End of French Impressionism
Problems within the Film Industry
Chapter 5: Germany In The 1920s
The German Situation after World War I
Genres and Styles of German Postwar Cinema
The German Expressionist Movement
Box: A Chronology Of German Expressionist Cinema
German Films Abroad
Major Changes in the Mid-to-Late 1920s
The Technological Updating of the German Studios
The End of Inflation
The End of the Expressionist Movement
New Objectivity
Box: G. W. Pabst And New Objectivity
Export and Classical Style
Chapter 6: Soviet Cinema In The 1920s
The Hardships of War Communism, 1918–1920
The Kuleshov Group
Recovery under the New Economic Policy, 1921–1924
Centralized Distribution
Regularized Production
Increased State Control and the Montage Movement, 1925–1930
Growth and Export in the Film Industry
The Influence of Constructivism
A New Generation: The Montage Filmmakers
Box: A Chronology Of The Soviet Montage Movement
The Theoretical Writings of Montage Filmmakers
Soviet Montage Form and Style
Other Soviet Films
The First Five-Year Plan and the End of the Montage Movement
Chapter 7: The Late Silent Era In Hollywood, 1920–1928
Theater Chains and the Expansion of the Industry
Vertical Integration
Picture Palaces
The Big Three and the Little Five
The Motion Picture Producers and Distributors of America
Studio Filmmaking
Style and Technological Changes
Big-Budget Films of the 1920s
New Investment and Blockbusters
Genres and Directors
Box: 1920s Comedy In Hollywood
Foreign Filmmakers in Hollywood
Films for African American Audiences
The Animated Part of the Program
Chapter 8: International Trends Of The 1920s
“Film Europe”
Postwar Animosities Fade
Concrete Steps toward Cooperation
Success Cut Short
The “International Style”
The Blending of Stylistic Traits
Carl Dreyer: European Director
Film Experiments outside the Mainstream Industry
Abstract Animation
Box: The Spread Of “Art Cinema” Institutions
Dada Filmmaking
Cinéma Pur
Lyrical Documentaries: The City Symphony
Experimental Narrative
Documentary Features Gain Prominence
Commercial Filmmaking Internationally
Great Britain
Some Smaller Producing Countries
Part Three: The Development Of Sound Cinema, 1926–1945
Chapter 9: The Introduction Of Sound
Sound in the United States
Warner Bros. and Vitaphone
Sound-on-Film Is Adopted
Sound and Filmmaking
Box: Early Sound Technology And The Classical Style
Germany Challenges Hollywood
Dividing the International Pie
The Early Sound Era in Germany
The USSR Pursues Its Own Path to Sound
The International Adoption of Sound
Great Britain
Wiring the World’s Theaters for Sound
Crossing the Language Barrier
Chapter 10: The Hollywood Studio System, 1930–1945
The New Structure of the Film Industry
The Big Five
Box: The Hays Code: Self-Censorship In Hollywood
The Little Three
The Independents
Exhibition Practice in the 1930s
Continued Innovation in Hollywood
Sound Recording
Camera Movement
Special Effects
Cinematography Styles
Major Directors
The Silent Veterans
New Directors
Box: Citizen Kane And The Magnificent Ambersons
New Émigré Directors
Genre Innovations and Transformations
The Musical
The Screwball Comedy
The Horror Film
The Social Problem Film
The Gangster Film
Film Noir
The War Film
Animation and the Studio System
Chapter 11: Other Studio Systems
Quota Quickies and Wartime Pressures: The British Studios
The British Film Industry Grows
Export Successes
Alfred Hitchcock’s Thrillers
Crisis and Recovery
The Effects of the War
Innovation within an Industry: The Studio System of Japan
Popular Cinema of the 1930s
The Pacific War
Box: Yasujiro Ozu And Kenji Mizoguchi In The 1930S
India: An Industry Built on Music
A Highly Fragmented Business
Mythologicals, Socials, and Devotionals
Independents Weaken the System
China: Filmmaking Caught between Left and Right
Chapter 12: Cinema And The State: The Ussr, Germany, And Italy, 1930–1945
The Soviet Union: Socialist Realism and World War II
Films of the Early 1930s
The Doctrine of Socialist Realism
Box: Socialist Realism And Chapayev
The Main Genres of Socialist Realism
The Soviet Cinema in Wartime
The German Cinema under the Nazis
The Nazi Regime and the Film Industry
Films of the Nazi Era
The Aftermath of the Nazi Cinema
Italy: Propaganda versus Entertainment
Industry Tendencies
A Cinema of Distraction
A New Realism?
Chapter 13: France: Poetic Realism, The Popular Front, And The Occupation, 1930–1945
The Industry and Filmmaking during the 1930s
Production Problems and Artistic Freedom
Fantasy and Surrealism: René Clair, Pierre Prévert, and Jean Vigo
Quality Studio Filmmaking
Émigrés in France
Everyday Realism
Poetic Realism
Doomed Lovers and Atmospheric Settings
The Creative Burst of Jean Renoir
Other Contributors
Brief Interlude: The Popular Front
Box: Popular Front Filmmaking: La Vie Est À Nous And La Marseillaise
Filmmaking in Occupied and Vichy France
The Situation in the Film Industry
Films of the Occupation Period
Chapter 14: Leftist, Documentary, And Experimental Cinemas, 1930–1945
The Spread of Political Cinema
The United States
Belgium and the Netherlands
Great Britain
International Leftist Filmmaking in the Late 1930s
Government- and Corporate-Sponsored Documentaries
The United States
Great Britain
Box: Robert Flaherty: Man Of Aran And The “Romantic Documentary”
Wartime Documentaries
Hollywood Directors and the War
Great Britain
Germany and the USSR
The International Experimental Cinema
Experimental Narratives and Lyrical and Abstract Films
Part Four: The Postwar Era: 1945–1960s
Chapter 15: American Cinema In The Postwar Era, 1945–1960
Postwar Changes, 1946–1948
The HUAC Hearings: The Cold War Reaches Hollywood
The Paramount Decision
The Decline of the Hollywood Studio System
Changing Lifestyles and Competing Entertainment
Box: See It On The Big Screen
Hollywood Adjusts to Television
Art Cinemas and Drive-Ins
Challenges to Censorship
The New Power of the Individual Film and the Revival of the Roadshow
The Rise of the Independents
Mainstream Independents: Agents, Star Power, and the Package
Independents on the Fringe
Classical Hollywood Filmmaking: A Continuing Tradition
Complexity and Realism in Storytelling
Stylistic Changes
New Twists on Old Genres
Major Directors: Several Generations
Veterans of the Studio Era
Émigrés Stay On
Welles’s Struggle with Hollywood
The Impact of the Theater
Box: Alfred Hitchcock
New Directors
Chapter 16: Postwar European Cinema: Neorealism And Its Context, 1945–1959
The Postwar Context
Film Industries and Film Culture
West Germany: “Papas Kino”
Resistance to US Encroachment
Art Cinema: The Return of Modernism
Italy: Neorealism and After
Italian Spring
Box: Neorealism And After: A Chronology Of Events And Selected Works
Defining Neorealism
Box: Umberto D.: The Maid Wakes Up
Box: Open City: The Death Of Pina
Beyond Neorealism
Box: Luchino Visconti And Roberto Rossellini
A Spanish Neorealism?
Chapter 17: Postwar European Cinema: France, Scandinavia, And Britain, 1945–1959
French Cinema of the Postwar Decade
The Industry Recovers
Box: Postwar French Film Culture
The Tradition of Quality
The Return of Older Directors
New Independent Directors
Scandinavian Revival
Box: Carl Theodor Dreyer
England: Quality and Comedy
Problems in the Industry
Literary Heritage and Eccentricity
Art-HouseSuccess Abroad
Chapter 18: Postwar Cinema Beyond The West, 1945–1959
General Tendencies
Industry Recovery under the Occupation
The Veteran Directors
The War Generation
Postwar Cinema in the Soviet Sphere of Influence
People’s Republic of China
Civil War and Revolution
Mixing Maoism and Tradition
A Disorganized but Prolific Industry
The Populist Tradition and Raj Kapoor
Box: Music And Postwar Indian Film
Swimming against the Stream: Guru Dutt and Ritwik Ghatak
Latin America
Brazil and Argentina
Mexican Popular Cinema
Chapter 19: Art Cinema And The Idea Of Authorship
The Rise and Spread of the Auteur Theory
Authorship and the Growth of the Art Cinema
Luis Buñuel (1900–1983)
Ingmar Bergman (1918–2007)
Akira Kurosawa (1910–1998)
Federico Fellini (1920–1993)
Michelangelo Antonioni (1912–2007)
Robert Bresson (1907–1999)
Jacques Tati (1908–1982)
Satyajit Ray (1921–1992)
Chapter 20: New Waves And Young Cinemas, 1958–1967
The Industries’ New Needs
Formal and Stylistic Trends
France: New Wave and New Cinema
Italy: Young Cinema and Spaghetti Westerns
Great Britain: Kitchen Sink Cinema
Young German Film
New Cinema in the USSR and Eastern Europe
Young Cinema in the Soviet Union
New Waves in Eastern Europe
Box: Miklós Jancs
The Japanese New Wave
An Industry in Search of Youth
Oshima and Others
Brazil: Cinema Nôvo
Government Support and New Directors
Coups and the Cinema
Tropicalism and Cannibalism
Chapter 21: Documentary And Experimental Cinema In The Postwar Era, 1945–Mid-1960S
Toward the Personal Documentary
Innovative Trends
The National Film Board and Free Cinema
France: The Auteurs’ Documentaries
Jean Rouch and Ethnographic Documentary
Direct Cinema
The United States: Drew and Associates
Box: New Technology For The New Documentary
Direct Cinema in Bilingual Canada
France: Cinéma Vérité and Provocation
Experimental and Avant-Garde Cinema
Box: The First Postwar Decade: Maya Deren
Abstraction, Collage, and Personal Expression
Success and New Ambitions
Box: The Second Postwar Decade: Stan Brakhage
Underground and Expanded Cinema
Part Five: The Contemporary Cinema Since The 1960s
Chapter 22: Hollywood’s Fall And Rise: 1960–1980
The 1960s: The Film Industry in Recession
The Studios in Crisis
Styles and Genres
Modifying the Classical Studio Style
Identifying the Audience
Box: New Production And Exhibition Technologies
The New Hollywood:Late 1960s To Late 1970s
Toward an American Art Cinema
Hollywood Strikes Gold
Box: Personal Cinema: Altman And Allen
The Return of the Blockbuster
Box: The 1970s Big Three: Coppola, Spielberg, And Lucas
Hollywood Updated
Scorsese as Synthesis
Opportunities for Independents
Chapter 23: Politically Critical Cinema Of The 1960s And 1970s
Political Filmmaking in the Third World
Revolutionary Aspirations
Political Genres and Style
Latin America
Box: Two Revolutionary Films: Memories Of Underdevelopment And Lucía
Black African Cinema
China: Cinema and the Cultural Revolution
Political Filmmaking in the First and Second Worlds
Eastern Europe and the USSR
Political Cinema in the West
Box: Film Activities During The May Events In Paris
Box: Brecht And Political Modernism
Chapter 24: Documentary And Experimental Film Since The Late 1960s
Documentary Cinema
Direct Cinema and Its Legacy
Box: Frederick Wiseman And The Tradition Of Direct Cinema
Synthesizing Documentary Techniques
Questioning Documentary Actuality
Documenting Upheavals and Injustice
Theatrical Documentary in the Age of Video and the Internet
Box: Facts, Truth, And Attitude: Michael Moore And Errol Morris
Structural Film and After
Structural Film
Reactions to Structural Film: The Return of Narrative
New Mergers
Box: Cutting The Tie To Photography: Animated Documentary
Film, Video, and Entry into the Museum
Chapter 25: New Cinemas And New Developments: Europe And The Ussr Since The 1970s
Western Europe
Crisis in the Industry
Box: Television And Aardman Animations
National Traditions and International Trends
Box: Duras, Von Trotta, And The European Art Cinema
Eastern Europe and the USSR
Eastern Europe: From Reform to Revolution
Box: Art Cinema: Slowing Down And Jumping Around
Box: Romania: A Newer Wave
From the USSR to the CIS
Chapter 26: A Developing World: Continental And Subcontinental Cinemas Since 1970
New Cinemas, New Audiences
African Cinema
North Africa
The 1990s and Beyond
Filmmaking in the Middle East
Israel and Palestine
Iran: Revolution, Renaissance, and Retreat
Countries in Conflict
South America and Mexico: Interrupted Reforms and Partnerships with Hollywood
Box: Latin American Literature And Cinema
India: Mass Output and Art Cinema
Alternatives to the Mainstream
Coproductions and Satellite TV
Popular Cinema Changes with the Times
Indian Cinema on the Global Stage
Chapter 27: Cinema Rising: Pacific Asia And Oceania Since 1970
Australia and New Zealand
New Zealand
New Cinemas in East Asia
The Philippines
Box: Edward Yang And Hou Hsiao-Hsien
Independent Filmmaking: Two Generations
Box: The Popular Artistry Of Hayao Miyazaki
Independent Filmmaking: Two Generations
Hong Kong
South Korea
China: The Great Success Story
Economic Reforms and the Fifth Generation
The Sixth Generation and Illegal Films
The Cinema and “Market Socialism”
The Dragon Grows Stronger
Part Six: Cinema In The Age Of New Media
Chapter 28: American Cinema And The Entertainment Economy: The 1980s And After
Hollywood, Cable Television, and Home Video
Movies in the Home
Concentration and Consolidation in the Film Industry
The Majors Stay Major
The Blockbuster Mentality
Box: Disney World Gets Bigger
The Bottom Line
Multiplexing and Megaplexing: The New Face of Exhibition
Artistic Trends
Narrative Form and Style
Box: Intensified Continuity: A Style For The Video Age
Directors: Midrange Options and Blockbuster Obligations
A New Age of Independent Cinema
Indie Aesthetics
Box: Indie Auteurs: Low-Budget Branding
Indies and the Industry
Chapter 29: Toward A Global Film Culture
The Media Conglomerates
Cooperation and Cooptation
Box: Jurassic Park, Global Film
Multiplexing the Planet
Regional Alliances, Media Empires, and the New International Film
Europe and Asia Try to Compete
Media Empires, West and East
Global Films from Outside Hollywood?
Box: Back To Basics: Dogme 95
Diasporic Cinema
The Festival Circuit
Festivals and the Global Film Business
Video Piracy: An Alternative Distribution System
Fan Subcultures: Appropriating the Movies
Chapter 30: Digital Technology And The Cinema
Digital Tools: Piece by Piece
Shooting in Digital: Experiments on the Margins
Digital Tools for 35mm Shooting
Publicity and Marketing
Digital Convergence: Putting the Pieces together
The Digital Cinema Initiative
Theaters Go Digital
Promoting Digital Production: Early Adopters and Film Diehards
Effects on Film Form and Style
Box: Digital Animation: Borderline Becomes Mainstream
Digital Distribution
Box: Directing Digital: David Fincher And Jean-Luc Godard
DVD: Sales and Rental
Online Distribution: Downloads and Streaming
Digital Distribution to Theaters
New Media and the Future of Film
The Internet
Video Games
Virtual and Augmented Reality

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