TENTH EDITION

AN INTRODUCTION

David BordweIl Kristin Thompson University of Wisconsin-Madison

Connect Leam Succeed BRIEF CONTENTS

Preface xiv

PA RT 1 • Film Art and Filmmaking 1 Film as Art: Creativity, Technology, and Business 2

PA RT 2 • Film Form 2 The Significance of Film Form 50 3 Narrative Form 72

PART 3 • Film Style 4 The Shot: Mise-en-Scene 112 5 The Shot: Cinematography 160 6 The Relation of Shot to Shot: Editing 218 7 Sound in the Cinema 266 8 Summary: Style as a Formal System 308

PAR T 4 • Types of Films 9 Film Genres 328 10 Documentary, Experimental, and Animated Films 350

PAR T 5 • Critical Analysis of Films 11 Film Criticism: Sampie Analyses 402 Appendix: Writing a Critica,1 Analysis of a Film 450

PART 6 • Film History 12 Historical Changes in film Art: Conventions and Choices, Tradition and Trends 458

Glossary 500 Credits 506 Recommended DVO and Blu-Ray Supplements 506 Index 507 vi CONTENTS

Preface xiv

PA RT 1 • Film Art and Filmmaking

CHAPTER 1 Film as Art: Creativity, Technology, and Business 2

Art VS. Entertainment? Art vs. Business? 3 Creative Decisions in Filmmaking 4 V DECISIO S To See into the Night in Collateral 5 Mechanics of the Movies 9 Illusion Machines 9 Making rilms with Photographie Film 9 Films as Digital Media /3 Making the Movie: Film Production /6 Thc Scriptwriting and Funding Phase /7 Thc Preparation Phase /8 Thc Shooting Phase 20 Thc Assembly Phase 24 A CLOSER LOOK-Some Terms and Roles in Film Production 24 Artistic Implications of the Production Process 28 Modes of Production 29 Largc-Scale Production 29 Exploitation, Independent Production, and DIY 30 Small-Scale Production 3J Artistic Implications of Different Modes of Production 32 Bringing the Fi Im to the Audience: Distribution and Exhibition 34 Distribution: The Center of Power 34 Exhibition: Theatrical and Nontheatrical 39 Ancillary Markets: Taking Movies beyond the Theater 4J Artistic Implications of Distribution and Exhibition 43 SUMMARY 47 RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS 47

PART 2 • Film Form

CHAPTER 2 The Significance of Film Form 50

The Concept of Form in Film 5/ Form as Pauem 5/ "Form" Ycrsus "Content" 52 Formal Expectations 54 Conventions anel Experience 56 Form and Feeling 56 Form ami Meaning 57 Evaluation: Good, Bad, or Indifferent? 60 viii CONTENTS

Principles of Film Form 62 Function 62 Similarity and Repetition 63 A CLOSER LOOK-Creative Decisions: Picking Out Patterns 64 Difference and Variation 66 Development 67 Unity and Disunity 69 SUMMARY 70 RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS 71

CHAPTER 3 Narrative Form 72

Principles of Narrative Form 72 What ls Narrative? 73 Telling the Story 74 CREATIVE DECISIONS-How Would You Tell the Story? 74 Plot and Story 75 Cause and Effect 77 Time 79 A CLOSER LOOK-Playing Games with Story Time 82 Space 84 Openings, Closings, and Patterns of Development 85 Narration: The Flow of Story Information 87 Range of Story Information: Restricted or Unrestricted? 87 Depth of Story Information: Objective or Subjective? 90 The Narrator 93 A CLOSER LOOK-Creative Decisions: When the Lights Go Down, the Narration Starts 94 CREATIVE DECISIO S-Choices about Narration in Storytelling 96 The Classical Hollywood Cinema 97 Narrative Form in Citizen Kane 99 Overall Narrative Expectations in Cilizen Kane 99 Plot and Story in Cilizen Kane 100 Cilizen Kane's Causality 102 Time in Cilizen Kane 103 Motivation in Cilizen Kane 105 Cilhen Kane's Parallelism 106 Patterns of Plot Development in Cilizen Kane 107 Narration in Cilizen Kane 108

SUMMARY Il() RECOMMENDED DVD AND BlU-RAY SUPPLEMENTS 110

PAR T 3 • Film Style

CHAPTER 4 The Shot: Mise-en-Scene 112

What ls Mise-en-Scene? 112 The Power 01' Mise-en-Scene 113 Components of Mise-en-Scene 115 Setting 115 Costume and Makeup 119 CONTENTS ix

Lighting 124 Staging: Movement and Performance 131 A ClOSER lOOK-The Film Actor's Toolkit 134 Pulting 11 All Together: Mise-en-Scene in Space anel Time 140 IVE DECISIO S-Mise-en-Scene in a Sequence from L'Avventura 141 Space 143 C EATIVE DECISIONS-Mise-en-Scene in Two Shots from Day of Wrath 149 Time 150 Narrative Functions of Mise-en-Scene in Our Hospifality 154 SUMMARY /58 RECOMMENDED DVD AND BlU-RAY SUPPLEMENTS 159

CHAPTER 5 The Shot: Cinematography 160

The Photographie Image 160 Thc Range 01' Tonalities 160 Speed or Motion 165 A ClOSER lOOK-From Monsters to the Mundane 166 Perspeetive 169 Fram ing 178 A ClOSER LOOK-Virtual Perspective: 3D 180 Frame Dimensions and Shape 182 C TIVE DECISIONS-Using Widescreen Framing /84 Onscreen and Offscreen Space /86 Camera Position: Angle, Level, Height, and Distance of Framing /88 LPEAf VE OECISIO S-Camera Position in a Shot from The Social Network 192 The Mobile Frame 195 EATIV DECISIONS-Mobile Framing and Film Form: Grand Illusion and Wavelength 204 Dur:nion of the Image: The Long Take 210 Real Time Is ... What? 2/l FlInctions of the Long Take 211 The Long Take and the Mobile Frame 2/2 SUMMARY 216 RECOMMENDED DVO ANO BlU-RAY SUPPLEMENTS 216

CHAPTER 6 The Relation of Shot to Shot: Editing 218

What Is Ecliting? 219 C TI EDEC SIO -Why Cut? Four Shots from The Birds 220 Dimensions of Film Editing 221 Graphie Relations between Shot A and Shot B 221 Rhythmie Relations belween Shot A and Shot B 226 Spatial Relations between Shot A and Shot B 227 Temporal Relations between Shot A and Shot B 228 Conlinllity Editing 232 Spatial Continuity: The 180 0 System 233 Continuity Editing in The Ma/lese Fa/con 235 Continuity Editing: Some Fine Points 239 x CONTENTS

CR OECISIO -Are You Looking at Me? Point-of-View Cutting in Rear Window 243 Crosseutting 246 Temporal Continuity: Order, Frequeney, and Duration 247 A ClOSER LOOK-Intensified Continuity: Unstoppable. L. A. Confidential, and Contemporary Editing 248 Alternatives to Continuity Editing 255 Graphie and Rhythmie Possibilities 255 Spatial and Temporal Diseontinuity 257 C E TI OECISIO S-Discontinuity Editing in October 26/ SUMMARY 26·/ RECOMMENDEO DVD AND BLU-RAY SUPPLEMENTS 265

CHAPTER 7 Sound In Cinema 266

Sound Decisions 266 Thc Powers of Sound 267 Sound Shapcs Our Understanding of Images 268 Sound Directs Our Attention 268 Fundamentals or Film Sound 270 Pcrceptual Propertics 270 hoosing, Altering, and Combining Sounds 273 r.pEATIVE DECISIONS-Editing Dialogue: Ta Overlap or Not to Overlap? 275 Dimensions of Film Sound 28/ Rhythm 28/ Fidelity 283 Spaee 284 A CLOSER LOOK-Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown 286 Time 294 Functions of Film Sound: The Prestige 298 Transported Men 298 The Sounds of Magie 299 Eehoes, Visual and Auditory 30/ Two Journals 302 Hinting at Seerets 303 The Opening 304 SUMMARY JOt) RECOMMENDEO DVD AND BLU-RAY SUPPLEMENTS 307

CHAPTER 8 Summary: Style and Film Form 308

The Concept or Style 308 TI OECISIO S-Style and the Filmmaker 309 Deeision Making: Techniques Working Together 3/0 Watehing and Listening: Style and the Viewer 310 Analyzing Style 3// 1. What Is the Film's Overall Form') 3/2 2. What Are lhe Primary Teehniques Being Used') 312 3. What Patterns Are Formed by the Teehniques') 3/2 4. What Funetions Do the Teehniques and Patterns FuInll? 3/4 A CLOSER lOOK-Stylistic Synthesis in Shadow of a Doubt 3/5 CONTENTS xi

Style in Citizen Kane 316 Myslery and the Penetrarion of Space 317 Style and Narration: Resrriction and Objectivity 319 Style and Narration: Omniscence 321 Narrative Parallels: Settings 321 Paralleis: Other Techniques 322 A Convincing Newsreel 324 Plot Time through Editing 324 SUMMARY 326 RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS 326

PA RT 4 • Types of Films

CHAPTER 9 Film Genres 328

Understanding Genre 329 Defining a Genre 330 Analyzing a Genre 331 Genre History 333 A CLOSER LOOK-Creative Decisions in a Contemporary Genre: The Crime Thriller as Subgenre 334 The Social Functions of Genres 338 Three Genres 339 The Western 339 The Horror Film 341 The Musical 344 SUMMARY 348 RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS 348

CHAPTER 10 Documentary, Experimental, and Animated Films 350

Documentary 350 What Is a Documenrary~ 350 The Boundaries between Documenrary and Fiction 352 Genres of Documentary 353 Form in Documentary Films 354 Categorical Form: Introduction 355 C EATIVE DECISIONS-Engaging Viewers Using Categorical Form 356 An Example of Categorical Form: Gap-Toolhed Women 357 Rhetorical Form: lntroduction 362 An Example of Rhetorical Form: The River 364 Experimental Film 369 A Range of Technical Choices 370 Types of Form in Experimental Film 371 Abslract Form: Introduction 371 eR JIVE OE ISIO S Designing Form in an Abstract Film 371 An EX

The Animated Film 386 Types of Traditional Animation 387 Types of Computer Animation 389 An Example of Traditional Animation: Duck Amuck 392 An Example of Experimental Animation: Dimensions 0/ Dialogue 395 SUMMARY 398 RECOMMENDED DVD AND BLU-RAY SUPPLEMENTS 399

PAR T 5 • Critical Analysis of Films

CHAPTER 11 Film Criticism: Sampie Analyses 402

The Classical Narrative Cinema 403 His Girl Frida)' 403 Norrh !Jy Norrhwesr 406 /)" The Riglzr Thing 410 Narrative Alternatives 10 Classical Filmmaking 4/5 Brearh/ess (A !Jout de soujfle) 415 Tokyo Story (Tokyo Monogatari) 420 Chungking Express (Chung Hing sam 10m) 425 Documentary Form and Style 429 Man wirh a Movie Camera (Che/ovek s kinoappararom) 429 The Thin B/ue Line 433 Form, Style, and Ideology 439 Meer Me in Sr. Louis 439 Raging Bu" 445 Appendix: Writing a Critical Analysis of a Film 450 Preparing to Write 450 Step 1: Develop a Thesis That Your Essay Will Explain and Support 450 Step 2: Draw Up a Segmentation of the Entire Film 450 Step 3: Note Outstanding Instances of Film Technique 45/ Organizing and Writing 451 Introducing Your Thesis 452 The Body: Reasons, Evidence, Examples 452 Wrapping Things Up 453 Summary: Key Questions for an Analytical Essay 453 A Sam pie Analytical Essay 453 Fantasy and Reality in The King of Comedy 454 Sample-Analysis Films on DVD 456

PA RT 6 • Firn Art and Film History

CHAPTER 12 Historical Changes in Film Art: Conventions and Choices, Tradition and Trends 458

CRE TlVE DECISIONS-Film Form and Style across History 459 Traditions and Movements in Film History 461 Early Cinema (1893-1903) 462 Photography and Cinema 463

Edison VS. Lumiere 463 CONTENTS xiii

Early Form and Style 464 Melies, Magie, and Fietional Narrative 465 The Devclopment of the Classical Hollywood Cinema (1908-1927) 466 Hollywood and the Studio System of Produetion 466 Classical Form and Style in Place 468 German Expressionism (1919-1926) 469 French Impressionism and Surrcalism (1918-1930) 472 Impressionism 473 Surrealism 474 Soviet Montage (1924-1930) 476 Artists and the State 476 NEP Cinema 477 The Priority of Editing 478 The Movement Ends 478 The Classical Hollywood Cinema after the Coming of Sound, 1930s-1940s 480 Converting to Sound 480 Problems and Solutions 480 Studios, Genres, and Spectacle 481 Deep Focus and Narrative Innovations 482 Ilalian Neorealism (1942-1951) 483 Leaving the Studio 484 A New Model of Storytelling 484 The Movement's End and Its Legacy 485 The French New Wave (1959-1964) 485 Movie Critics Become Moviemakers 486 A New Wave Style 486 Neorealism Recast 487 Into the Mainstream and Beyond 487 The New Hollywood and Independent Filmmaking, 1970s-1980s 488 Blockbusters and Indie Pictures 489 The Rise of the Movie Brats 489 Other Paths 490 The 1980s and After 491 Hollywood and Independents, To Be Continued 493 Hong Kong Cinema, 1980s-1990s 494 A Local Tradition Goes Global 494 The New Generation: Two SchooIs 494 Story and Style 495 Legaey Overseas 496 RECOMMENDED DVD AND BlU-RAY DISeS 49R

Glossary 500 Credits 506 Recommended OVO and Blu-ray Oiscs 506 Index 507