Film History: An Introduction

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ISBN: 9780070384293 | 0070384290
Cover: Paperback
Copyright: 8/6/2002

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Written by two leading film scholars, Film History: An Introduction is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling Film Art, concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

Preface

xix

Introduction: Film History and How It Is Done

(1)

Why Do We Care About Old Movies?

(1)

What Do Film Historians Do?

(5)

Questions and Answers

(1)

Film History as Description and Explanation

(1)

Evidence

(1)

Explaining the Past: Basic Approaches

(1)

Explaining the Past: Organizing the Evidence

(2)

Our Approach to Film History

(2)

History as Story

(2)

Reference

(1)

Part One EARLY CINEMA

(11)

The Invention and Early Years of the Cinema, 1880s-1904

(9)

The Invention of the Cinema

(7)

Preconditions for Motion Pictures

(1)

Major Precursors of Motion Pictures

(1)

An International Process of Invention

(5)

Early Filmmaking and Exhibition

(1)

Scenics, Topicals, and Fiction Films

(1)

Creating an Appealing Program

(1)

The Growth of the French Film Industry

(1)

BOX: THE SPREAD OF THE CINEMA AROUND THE WORLD: SOME REPRESENTATIVE EXAMPLE

(2)

BOX: GEORGES MELIES, MAGICIAN OF THE CINEMA

(28)

England and the Brighton School

(3)

The United States: Competition and the Resurgence of Edison

(4)

Notes and Queries

(2)

Identification and Preservation of Early Films

(1)

Reviving Interest in Early Cinema: The Brighton Conference

(1)

Reference

(1)

Further Reading

(1)

The International Expansion of the Cinema, 1905-1912

(19)

Film Production in Europe

(4)

France: Pathe versus Gaumont

(2)

Italy: Growth through Spectacle

(1)

Denmark: Nordisk and Ole Olsen

(1)

Other Countries

(1)

The Struggle for the Expanding American Film Industry

(5)

The Nickelodeon Boom

(2)

The Motion Picture Patents Company versus the Independents

(1)

Social Pressures and Self-Censorship

(1)

The Rise of the Feature Film

(1)

The Star System

(1)

The Movies Move to Hollywood

(1)

The Problem of Narrative Clarity

(8)

Early Moves toward Classical Storytelling

(7)

An International Style

(1)

Notes and Queries

(1)

Griffith's Importance in the Development of Film Style

(1)

BOX: THE BEGINNINGS OF FILM ANIMATION

(9)

References

(1)

Further Reading

(1)

National Cinemas, Hollywood Classicism, and World War I, 1913-1919

(6)

The American Takeover of World Markets

(1)

The Rise of National Cinemas

(4)

Germany

(1)

Italy

(2)

Russia

(1)

BOX: THE BRIEF HEYDAY OF THE SERIAL

(10)

France

(1)

Denmark

(1)

Sweden

(4)

The Classical Hollywood Cinema

(3)

The Major Studios Begin to Form

(1)

Controlling Filmmaking

(2)

Filmmaking in Hollywood during the 1910s

(1)

BOX: PRECISION STAGING IN EUROPEAN CINEMA

(10)

Films and Filmmakers

(4)

Streamlining American Animation

(1)

Smaller Producing Countries

(2)

Notes and Queries

(2)

The Ongoing Rediscovery of the 1910s

(1)

References

(1)

Further Reading

(1)

Part Two THE LATE SILENT ERA. 1919-1929

(8)

France in the 1920s

(4)

The French Film Industry after World War I

(2)

Competition from Imports

(1)

Disunity within the Film Industry

(1)

Outdated Production Facilities

(1)

Major Postwar Genres

(1)

The French Impressionist Movement

(1)

The Impressionists' Relation to the Industry

(1)

A CHRONOLOGY OF FRENCH IMPRESSIONIST CINEMA

(15)

Impressionist Theory

(1)

Formal Traits of Impressionism

(7)

The End of French Impressionism

(1)

The Filmmakers Go Their Own Ways

(1)

Problems within the Film Industry

(1)

Notes and Queries

(2)

French Impressionist Theory and Criticism

(1)

Restoration Work on Napoleon

100

(1)

References

100

(1)

Further Reading

100

(1)

Germany in the 1920s

101

(3)

The German Situation after World War I

101

(1)

Genres and Styles of German Postwar Cinema

102

(2)

Spectacles

103

(1)

The German Expressionist Movement

103

(1)

A CHRONOLOGY OF GERMAN EXPRESSIONIST CINEMA

104

(12)

Kammerspiel

109

(1)

German Films Abroad

110

(1)

Major Changes in the Mid- to Late 1920s

110

(3)

The Technological Updating of the German Studios

111

(1)

The End of Inflation

112

(1)

The End of the Expressionist Movement

113

(1)

New Objectivity

114

(2)

BOX: G. W. PABST AND NEW OBJECTIVITY

116

(12)

Export and Classical Style

115

(3)

Notes and Queries

118

(1)

German Cinema and German Society

118

(1)

Expressionism, New Objectivity and the Other Arts

118

(1)

References

118

(1)

Further Reading

118

(1)

Soviet Cinema in the 1920s

119

(9)

The Hardships of War Communism, 1918-1920

119

(4)

Recovery under the New Economic Policy, 1921-1924

123

(1)

Increased State Control and the Montage Movement, 1925-1930

124

(4)

Growth and Export in the Film Industry

124

(1)

The Influence of Constructivism

125

(2)

A New Generation: The Montage Filmmakers

127

(1)

A CHRONOLOGY OF THE SOVIET MONTAGE MOVEMENT

128

(26)

The Theoretical Writings of Montage Filmmakers

129

(1)

Soviet Montage Form and Style

130

(8)

Other Soviet Films

138

(1)

The First Five-Year Plan and the End of the Montage Movement

139

(2)

Notes and Queries

141

(2)

Film Industry and Governmental Policy: A Tangled History

141

(1)

The Kuleshov Effect

141

(1)

The Russian Formalists and the Cinema

141

(1)

References

141

(1)

Further Reading

142

(1)

The Late Silent Era in Hollywood, 1920-1928

143

(11)

Theater Chains and the Structure of the Industry

144

(2)

Vertical Integration

144

(1)

Picture Palaces

145

(1)

The Big Three and the Little Five

145

(1)

The Motion Picture Producers and Distributors of America

146

(1)

Studio Filmmaking

147

(7)

Style and Technological Changes

147

(2)

Big-Budget Films of the 1920s

149

(3)

New Investment and Blockbusters

152

(1)

Genres and Directors

153

(1)

BOX: SILENT COMEDY IN THE 1920s

154

(20)

Foreign Filmmakers in Hollywood

158

(4)

Films for African American Audiences

162

(1)

The Animated Part of the Program

163

(2)

Notes and Queries

165

(2)

The Rediscovery of Buster Keaton

165

(1)

References

166

(1)

Further Reading

166

(1)

International Trends of the 1920s

167

(7)

``Film Europe''

167

(3)

Postwar Animosities Fade

167

(1)

Concrete Steps toward Cooperation

168

(1)

Success Cut Short

169

(1)

The ``International Style''

170

(3)

The Blending of Stylistic Traits

170

(1)

Carl Dreyer: European Director

171

(2)

Film Experiments outside the Mainstream Industry

173

(1)

Abstract Animation

173

(1)

BOX: THE SPREAD OF ``ART CINEMA'' INSTITUTIONS

174

(17)

Dada Filmmaking

177

(1)

Surrealism

178

(1)

Cinema Pur

179

(2)

Lyrical Documentaries: The City Symphony

181

(1)

Experimental Narrative

182

(2)

Documentary Features Gain Prominence

184

(2)

Commercial Filmmaking Internationally

186

(3)

Japan

186

(1)

Great Britain

187

(1)

Italy

187

(1)

Some Smaller Producing Countries

188

(1)

Notes and Queries

189

(2)

Different Versions of Silent Classics

189

(1)

References

190

(1)

Further Reading

190

(1)

Part Three THE DEVELOPMENT OF SOUND CINEMA. 1926-1945

191

(5)

The Introduction of Sound

193

(3)

Sound in the United States

194

(2)

Warner Bros. and Vitaphone

194

(1)

Sound-on Film is Adopted

194

(1)

Sound and Filmmaking

195

(1)

BOX: EARLY SOUND TECHNOLOGY AND THE CLASSICAL STYLE

196

(20)

Germany Challenges Hollywood

200

(4)

Dividing the International Pie

200

(1)

The Early Sound Era in Germany

201

(3)

The USSR Pursues Its Own Path to Sound

204

(2)

The International Adoption of Sound

206

(5)

France

201

(6)

Great Britain

207

(1)

Japan

208

(1)

Wiring the World's Theaters for Sound

209

(1)

Crossing the Language Barrier

210

(1)

Notes and Queries

211

(2)

Filmmakers on the Coming of Sound

211

(1)

Sound and the Revision of Film History

211

(1)

References

211

(1)

Further Reading

211

(2)

The Hollywood Studio System, 1930-1945

213

(3)

The New Structure of the Film Industry

214

(2)

The Big Five

214

(2)

The Little Three

216

(1)

BOX: THE HAYS CODE: SELF-CENSORSHIP IN HOLLYWOOD

216

(11)

The Independents

218

(1)

Exhibition Practice in the 1930s

218

(1)

Continued Innovation in Hollywood

219

(5)

Sound Recording

219

(1)

Camera Movement

220

(1)

Technicolor

220

(1)

Special Effects

221

(2)

Cinematography Styles

223

(1)

Major Directors

224

(3)

The Older Generation

224

(2)

New Directors

226

(1)

BOX: CITIZEN KANE AND THE MAGNIFICENT AMBERSONS

227

(22)

New Emigre Directors

228

(1)

Genre Innovations and Transformations

228

(7)

The Musical

228

(2)

The Screwball Comedy

230

(1)

The Horror Film

231

(1)

The Social Problem Film

232

(1)

The Gangster Film

233

(1)

Film Noir

233

(2)

The War Film

235

(1)

Animation and the Studio System

235

(2)

Notes and Queries

237

(2)

The Controversy over Orson Welles

237

(1)

References

238

(1)

Further Reading

238

(1)

Other Studio Systems

239

(10)

Quota Quickies and Wartime Pressures: The British Studios

239

(7)

The British Film Industry Grows

239

(2)

Export Successes

241

(1)

Alfred Hitchcock's Thrillers

242

(1)

Crisis and Recovery

242

(2)

The Effects of the War

244

(2)

Innovation within an Industry: The Studio System of Japan

246

(3)

Popular Cinema of the 1930s

246

(2)

The Pacific War

248

(1)

BOX: YASUJIRO OZU AND KENJI MIZOGUCHI IN THE 1930s

249

(14)

India: An Industry Built on Music

256

(1)

A Highly Fragmented Business

256

(1)

Mythologicals, Socials, and Devotionals

256

(1)

Independents Weaken the System

257

(1)

China: Filmmaking Caught between Left and Right

257

(2)

Notes and Queries

259

(2)

Japanese Cinema Rediscovered

259

(1)

References

260

(1)

Further Reading

260

(1)

Cinema and the State: The Ussr, Germany, and Italy, 1930-1945

261

(2)

The Soviet Union: Socialist Realism and World War II

261

(2)

Films of the Early 1930s

262

(1)

The Doctrine of Socialist Realism

262

(1)

SOCIALIST REALISM AND CHAPAYEV

263

(31)

The Main Genres of Socialist Realism

264

(4)

The Soviet Cinema in Wartime

268

(3)

The German Cinema under the Nazis

271

(5)

The Nazi Regime and the Film Industry

271

(1)

Films of the Nazi Era

272

(3)

The Aftermath of the Nazi Cinema

275

(1)

Italy: Propaganda versus Entertainment

276

(5)

Industry Tendencies

276

(1)

A Cinema of Distraction

277

(2)

A New Realism?

279

(2)

Notes and Queries

281

(2)

The Case of Leni Riefenstahl

281

(1)

References

281

(1)

Further Reading

282

(1)

France: Poetic Realism, the Popular Front, and the Occupation, 1930-1945

283

(11)

The Industry and Filmmaking during the 1930s

284

(5)

Production Problems and Artistic Freedom

284

(1)

Fantasy and Surrealism: Rene Clair, Pierre Prevert, and Jean Vigo

284

(2)

Quality Studio Filmmaking

286

(1)

Emigres in France

287

(1)

Everyday Realism

288

(1)

Poetic Realism

289

(4)

Doomed Lovers and Atmospheric Settings

289

(1)

The Creative Burst of Jean Renoir

290

(2)

Other Contributors

292

(1)

Brief Interlude: The Popular Front

293

(1)

BOX: POPULAR FRONT FILMMAKING: LA VIE EST A NOUS AND LA MARSEILLAISE

294

(17)

Filmmaking in Occupied and Vichy France

296

(5)

The Situation in the Film Industry

296

(2)

Films of the Occupation Period

298

(3)

Notes and Queries

301

(2)

Renewed Interest in the Popular Front

301

(1)

Reference

302

(1)

Further Reading

302

(1)

Leftist, Documentary, and Experimental Cinemas, 1930-1945

303

(8)

The Spread of Political Cinema

303

(6)

The United States

304

(1)

Germany

305

(1)

Belgium and the Netherlands

305

(1)

Great Britain

306

(1)

International Leftist Filmmaking in the Late 1930s

307

(2)

Government- and Corporate-Sponsored Documentaries

309

(2)

The United States

309

(1)

Great Britain

310

(1)

BOX: ROBERT FLAHERTY: MAN OF ARAN AND THE ``ROMANTIC DOCUMENTARY''

311

(12)

Wartime Documentaries

313

(4)

Hollywood Directors and the War

313

(1)

Great Britain

314

(2)

Germany and the USSR

316

(1)

The International Experimental Cinema

317

(6)

Experimental Narratives and Lyrical and Abstract Films

317

(1)

Surrealism

318

(1)

Animation

319

(3)

References

322

(1)

Further Reading

322

(1)

Part Four THE POSTWAR ERA: 1945-1960s

323

(7)

American Cinema in the Postwar Era, 1945-1960

325

(5)

1946-1948

326

(2)

The HUAC Hearings:. The Cold War Reaches Hollywood

326

(1)

The Paramount Decision

327

(1)

The Decline of the Hollywood Studio System

328

(2)

Changing Lifestyles and Competing Entertainment

328

(1)

Hollywood Adjusts to Television

329

(1)

BOX: SEE IT ON THE BIG SCREEN

330

(17)

Art Cinemas and Drive-ins

333

(1)

Challenges to Censorship

334

(1)

The New Power of the Individual Film and the Revival of the Roadshow

335

(1)

The Rise of the Independents

336

(3)

Mainstream Independents: Agents, Star Power, and the Package

336

(1)

Exploitation

337

(2)

Independents on the Fringe

339

(1)

Classical Hollywood Filmmaking: A Continuing Tradition

339

(5)

Complexity and Realism in Storytelling

339

(2)

Stylistic Changes

341

(1)

New Twists on Old Genres

341

(3)

Major Directors: Several Generations

344

(3)

Veterans of the Studio Era

344

(2)

Emigres Stay On

346

(1)

BOX: ALFRED HITCHCOCK

347

(13)

Welles's Struggle with Hollywood

348

(1)

The Impact of the Theater

348

(2)

New Directors

350

(1)

Notes and Queries

351

(2)

Widescreen Formats in Subsequent History

351

(1)

References

351

(1)

Further Reading

351

(2)

Postwar European Cinema: Neorealism and its Context, 1945-1959

353

(7)

The Postwar Context

353

(1)

Film Industries and Film Culture

354

(5)

West Germany: ``Papas Kino''

354

(1)

Resistance to U.S. Encroachment

355

(2)

Art Cinema: The Return of Modernism

357

(2)

Italy: Neorealism and After

359

(1)

Italian Spring

359

(1)

NEOREALISM AND AFTER: A CHRONOLOGY OF EVENTS AND SELECTED WORKS

360

(4)

Defining Neorealism

362

(2)

BOX: UMBERTO D: THE MAID WAKES UP

364

(1)

BOX: OPEN CITY: THE DEATH OF PINA

365

(2)

Beyond Neorealism

366

(1)

BOX: LUCHINO VISCONTI AND ROBERTO ROSSELLINI

367

(7)

A Spanish Neorealism?

369

(2)

Notes and Queries

371

(2)

Controversies around Neorealism

371

(1)

References

371

(1)

Further Reading

372

(1)

Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959

373

(1)

French Cinema of the Postwar Decade

373

(1)

The Industry Recovers

373

(1)

BOX: POSTWAR FRENCH FILM CULTURE

374

(10)

The Tradition of Quality

375

(2)

The Return of Older Directors

377

(4)

New Independent Directors

381

(2)

Scandinavian Revival

383

(1)

BOX: CARL THRODOR DREYER

384

(24)

England: Quality and Comedy

385

(4)

Problems in the Industry

385

(1)

Literary Heritage and Eccentricity

386

(3)

Art-House Success Abroad

389

(1)

Notes and Queries

389

(2)

Postwar French Film Theory

389

(1)

The Powell-Pressburger Revival

390

(1)

References

390

(1)

Further Reading

390

(1)

Postwar Cinema Beyond the West, 1945-1959

391

(17)

General Tendencies

391

(2)

Japan

393

(4)

Industry Recovery under the Occupation

393

(1)

The Veteran Directors

394

(2)

The War Generation

396

(1)

Postwar Cinema in the Soviet Sphere of Influence

397

(7)

The USSR: From High Stalinism to the Thaw

397

(2)

Postwar Cinema in Eastern Europe

399

(5)

People's Republic of China

404

(3)

Civil War and Revolution

404

(2)

Mixing Maoism and Tradition

406

(1)

India

407

(1)

A Disorganized but Prolific Industry

407

(1)

The Populist Tradition and Raj Kapoor

407

(1)

BOX: MUSIC AND POSTWAR INDIAN FILM

408

(36)

Swimming against the Stream: Guru Dutt and Ritwik Ghatak

409

(2)

Latin America

411

(2)

Argentina and Brazil

411

(1)

Mexican Popular Cinema

412

(1)

Notes and Queries

413

(2)

De-Stalinization and the Disappearing Act

413

(1)

References

414

(1)

Further Reading

414

(1)

Art Cinema and the Idea of Authorship

415

(24)

The Rise and Spread of the Auteur Theory

415

(1)

Authorship and the Growth of the Art Cinema

416

(1)

Luis Bunuel (1900-1983)

417

(2)

Ingmar Bergman (1918- )

419

(3)

Akira Kurosawa (1910-1998)

422

(3)

Federico Fellini (1920-1993)

425

(1)

Michelangelo Antonioni (1912- )

426

(2)

Robert Bresson (1907-1999)

428

(3)

Jacques Tati (1908-1982)

431

(2)

Satyajit Ray (1921-1992)

433

(3)

Notes and Queries

436

(3)

The Impact of Auteurism

436

(1)

Auteurism and the American Cinema

436

(1)

1950s and 1960s Modernist Cinema

437

(1)

References

438

(1)

Further Reading

438

(1)

New Waves and Young Cinemas, 1958-1967

439

(5)

The Industries New Needs

439

(1)

Formal and Stylistic Trends

440

(3)

France: New Wave and New Cinema

443

(1)

The New Wave

443

(1)

FRENCH NEW CINEMA AND THE NOUVELLE VAGUE: A CHRONOLOGY OF MAJOR RELEASES

444

(2)

BOX: FRANCOIS TRUFFAUT AND JEAN-LUC GODARD

446

(19)

New Cinema: The Left Bank

449

(2)

Italy: Young Cinema and Spaghetti Westerns

451

(3)

Great Britain: Kitchen Sink Cinema

454

(2)

Young German Film

456

(2)

New Cinema in the USSR and Eastern Europe

458

(7)

Young Cinema in the Soviet Union

458

(2)

New Waves in Eastern Europe

460

(5)

BOX: MIKLOS JANSCO

465

(19)

The Japanese New Wave

468

(3)

Brazil: Cinema Novo

471

(4)

Notes and Queries

475

(2)

Censorship and the French New Wave

475

(1)

New Film Theory

475

(1)

References

475

(1)

Further Reading

476

(1)

Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s

477

(7)

Toward the Personal Documentary

478

(5)

Innovative Trends

478

(2)

The National Film Board and Free Cinema

480

(1)

France: The Auteurs' Documentaries

481

(1)

Jean Rouch and Ethnographic Documentary

482

(1)

Direct Cinema

483

(1)

The United States: Drew and Associates

483

(1)

BOX: NEW TECHNOLOGY FOR THE NEW DOCUMENTARY

484

(6)

Direct Cinema in Bilingual Canada

486

(1)

France: Cinema Verite

487

(2)

Experimental and Avant-Garde Cinema

489

(1)

BOX: THE FIRST POSTWAR DECADE: MAYA DEREN

490

(9)

Abstraction, Collage, and Personal Expression

493

(6)

THE SECOND POSTWAR DECADE: STAN BRAKHAGE

499

(10)

Success and New Ambitions

500

(1)

Underground and Expanded Cinema

501

(6)

Notes and Queries

507

(2)

Writing the History of the Postwar Avant-Garde

507

(1)

References

508

(1)

Further Reading

508

(1)

Part Five THE CONTEMPORARY CINEMA SINCE THE 1960s

509

(7)

Hollywood's Fall and Rise: 1960-1980

511

(5)

The 1960s: The Film Industry in Recession

512

(4)

The Studios in Crisis

512

(1)

Styles and Genres

513

(1)

Modifying the Classical Studio Style

514

(1)

Identifying the Audience

515

(1)

BOX: NEW PRODUCTION AND EXHIBITION TECHNOLOGIES

516

(4)

The New Hollywood: Late 1960s to Late 1970s

516

(4)

Toward an American Art Cinema

517

(3)

BOX: PERSONAL CINEMA: ALTMAN AND ALLEN

520

(3)

Hollywood Strikes Gold

522

(1)

The Return of the Blockbuster

522

(1)

BOX: THE 1970S BIG THREE: COPPOLA, SPIELBERG, AND LUCAS

523

(19)

Hollywood Updated

526

(2)

Scorsese as Synthesis

528

(2)

Opportunities for Independents

530

(2)

Notes and Queries

532

(3)

The American Director as Superstar

532

(1)

Film Consciousness and Film Preservation

532

(1)

Exploitation Films and Connoisseurs of ``Weird Movies''

533

(1)

References

533

(1)

Further Reading

533

(2)

Politically Critical Cinema of the 1960s and 1970s

535

(7)

Political Filmmaking in the Third World

536

(6)

Revolutionary Aspirations

537

(1)

Political Genres and Style

538

(1)

Latin America

538

(4)

BOX: TWO REVOLUTIONARY FILM: MEMORIES OF UNDERDEVELOPMENT AND LUCIA

542

(16)

Black African Cinema

548

(3)

China: Cinema and the Great Proletarian Cultural Revolution

551

(2)

Political Filmmaking in the First and Second Worlds

553

(5)

Eastern Europe and the USSR

553

(3)

Political Cinema in the West

556

(2)

BOX: FILM ACTIVITIES DURING THE MAY EVENTS IN PARIS

558

(4)

Political Modernism

562

(1)

BOX: BRECHT AND POLITICAL MODERNISM

562

(19)

The Politicization of Mainstream Narrative and the Art Film

568

(4)

New Cinema in West Germany: The Political Wing

572

(4)

Notes and Queries

576

(3)

Defining Third World Revolutionary Cinema

576

(1)

Film Studies and the New Film Theory

577

(1)

References

577

(1)

Further Reading

578

(1)

Documentary and Experimental Film Since the Late 1960s

579

(2)

Documentary Cinema

579

(2)

Direct Cinema and Its Legacy

579

(2)

BOX: FREDRICK WISEMAN AND THE TRADITION OF DIRECT CINEMA

581

(14)

Synthesizing Documentary Techniques

553

(31)

The Questioning of Documentary Actuality

584

(2)

Documenting Upheavals and Injustice

586

(1)

The Theatrical Documentary in the Age of Television

587

(2)

From Structuralism to Pluralism in Avant-Garde Cinema

589

(6)

Structural Film

589

(5)

Reactions and Alternatives to Structural Film

594

(1)

BOX: INDEPENDENT ANIMATION OF THE 1970S AND 1980s

595

(13)

New Mergers

601

(1)

Notes and Queries

602

(3)

Rethinking Documentary

602

(1)

The Idea of Structure

603

(1)

The Avant-Garde and Postmodernism

603

(1)

References

604

(1)

Further Reading

604

(1)

New Cinemas and New Developments: Europe and the Ussr Since the 1970s

605

(3)

Western Europe

606

(2)

Crisis in the Industry

606

(2)

BOX: TELEVISION AND AARDMAN ANIMATION

608

(6)

The Art Cinema Revived: Toward Accessibility

609

(5)

BOX: DURAS, VON TROTTA, AND THE EUROPEAN ART CINEMA

614

(21)

The Arresting Image

618

(5)

Eastern Europe and the USSR

623

(8)

Eastern Europe: From Reform to Revolution

623

(4)

The USSR: The Final Thaw

627

(4)

Notes and Queries

631

(2)

The New German Cinema

631

(1)

References

632

(1)

Further Reading

632

(1)

Beyond the Industrialized West: Latin America, the Asia-Pacific Region, the Middle East, and Africa Since the 1970s

633

(2)

From Third World to Developing Nations

634

(1)

Latin America: Accessibility and Decline

635

(1)

BOX: LATIN AMERICAN LITERATURE AND CINEMA

635

(14)

Brazil

636

(1)

Argentina and Elsewhere

637

(1)

Mexico

638

(1)

Cuba and Other Left-Wing Cinemas

639

(1)

India: Mass Output and Art Cinema

640

(4)

A Parallel Cinema

641

(1)

Beyond a Parallel Cinema

642

(1)

Coproductions, ``International Directors,'' and a New Political Cinema

643

(1)

Japan

644

(4)

Independent Filmmaking: An Irreverent Generation

645

(1)

The 1990s: The Punctured Bubble and a New Surge of Talent

646

(2)

Mainland China: The Fifth Generation and Beyond

648

(1)

The Fifth Generation

648

(1)

CHRONOLOGY OF CHINA'S FIFTH GENERATION

649

(11)

The Sixth Generation and Illegal Films

650

(2)

New Cinemas in East Asia

652

(8)

The Philippines

653

(1)

Hong Kong

654

(5)

Taiwan

659

(1)

BOX: EDWARD YANG AND HOU HSIAO-HSIEN

660

(17)

South Korea

662

(1)

Australia and New Zealand

663

(3)

Australia

663

(2)

New Zealand

665

(1)

Filmmaking in the Middle East

666

(5)

Israel

667

(1)

Egypt

668

(1)

Turkey

668

(1)

Iraq and Iran

669

(2)

African Cinema

671

(4)

North Africa

671

(1)

Sub-Saharan Africa

672

(2)

The 1990s

674

(1)

Notes and Queries

675

(2)

Pinning the Tail on Pinochet

675

(1)

Storytelling in Third World Cinema

675

(1)

References

676

(1)

Further Reading

676

(1)

Part Six CINEMA IN THE AGE ELECTRONIC MEDIA

677

(11)

American Cinema and the Entertainment Economy: the 1980s and After

679

(9)

Hollywood, Cable Television, and Videotape

680

(1)

Concentration and Consolidation in the Film Industry

681

(6)

The Megapicture Mentality

683

(1)

The Bottom Line

684

(1)

Prime Packagers

685

(1)

New Revenue Streams

685

(1)

Megaplexing: The New Face of Exhibition

686

(1)

Artistic Trends

687

(1)

Form and Style

687

(1)

BOX: INTENSIFIED CONTINUITY: A STYLE FOR THE VIDEO AGE

688

(14)

Directors: Coming to Terms with Megapics

689

(3)

Genres

692

(2)

A New Age of Independent Cinema

694

(7)

Support Systems

695

(1)

The Arty Indies

696

(1)

Off Hollywood Indies

697

(3)

Retro-Hollywood Independents

700

(1)

Digital Cinema

701

(1)

A TIMELINE OF 3-D COMPUTER ANIMATION

702

(6)

Notes and Queries

703

(2)

Video Versions

703

(1)

George Lucas: Is Film Dead?

704

(1)

References

704

(1)

Further Reading

704

(1)

Toward a Global Film Culture

705

(3)

Hollyworld?

706

(2)

The Media Conglomerates

706

(1)

Cooperation and Cooptation

707

(1)

BOX: JURASSIC PARK, GLOBAL FILM

708

(5)

Battles over GATT

709

(1)

Multiplexing the Planet

709

(1)

Regional Alliances and the New International Film

710

(3)

Europe and Asia Try to Compete

710

(1)

Media Empires

711

(1)

Polygram: A European Major?

711

(1)

Global Films from Europe

711

(1)

East Asia: Regional Alliances and Global Efforts

712

(1)

BOX: BACK TO BASICS: DOGME 95

713

(4)

Diasporas and the Global Soul

715

(1)

The Festival Circuit

716

(1)

BOX: THE TORONTO INTERNATIONAL FILM FESTIVAL

717

(8)

Global Subcultures

718

(2)

Video Piracy: An Efficient Distribution System?

718

(1)

Fan Subcultures: Appropriating the Movies

718

(2)

Digital Convergence

720

(3)

The Internet as Movie Billboard

720

(1)

Digital Moviemaking from Script to Screen

721

(2)

Notes and Queries

723

(2)

Akira, Gundam, Sailor Moon, and their friends

723

(1)

Auteurs on the Web

723

(1)

References

723

(1)

Further Reading

723

(2)

Bibliography

725

(7)

Glossary

732

(7)

Index

739

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Film History: An Introduction

Summary

Table of Contents

Supplemental Materials