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An Introduction 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<lmple 01' Abstract Form: Ballet Mecanique 373 Associational Form: lntroduction 378 An Example of Assoeiational Form: Koyaanisqalsi 379 xii CONTENTS 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
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