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Six Critical Essays on Film is a clear, succinct guide to studying and understanding feature films as both a medium of communication and artistic expression. Intended for college and adult school students, this book offers a short - but diverse - selection of quality films from the 1920s through 1970s for review and application. The text provides active, workable solutions to break films down into their component parts, evaluate elements that work well, and identify those that miss their mark. Critical thinking skills and an outside-the-box approach are encouraged to help students write film essays of their own that stand out boldly from the college crowd.
Six Critical Essays on Film is a strategic guide to studying and understanding feature films as both a medium of communication and artistic expression. Intended for college and adult school students, this book offers a short – but diverse – selection of quality films from the 1920s through 1970s for review and application. The text provides active, workable solutions to break films down into their component parts, evaluate elements that work well, and identify those that miss their mark.
This collection of essays by Rudolph Arnheim (film criticism, U. of Michigan) explores film theory, criticism, and many classic films from the silent and early sound period (the 1920s and early 1930s). The majority of essays included in this collection were written and published in Berlin during the Weimar Republic, and have been translated into English for the first time. Arnheim argues that up until 1930, film artists created pure forms of cinema crafted with a narrative economy which could unify the most varied of effects. As movies became more realistic looking due to technical advances, cinema began to lose its integrity and viability. Paper edition (unseen), $18.95. Annotation copyrighted by Book News, Inc., Portland, OR
Film itself is an artifact of memory. A blend of all the other fine arts, film portrays and preserves human memory, someone's memory, faulty or not, dramatically or comically, in a documentary, feature film or short. Hollywood may dominate 80 percent of cinema production but it is not the only voice. World cinema is about those other voices. Drawn initially from presentations from a series of film conferences held at the University of Texas at San Antonio, this collection of essays covers multiple geographical, linguistic, and cultural areas worldwide, emphasizing the historical and cultural interpretation of films. Appendices list films focusing on memory and invite readers to explore the films and issues raised.
Wes Anderson's films can be divisive, but he is widely recognized as the inspiration for several recent trends in indie films. Using both practical and theoretical lenses, the contributors address and explain the recurring stylistic techniques, motifs, and themes that dominate Anderson's films and have had such an impact on current filmmaking.
Though intimacy has been a wide concern in the humanities, it has received little critical attention in film studies. This collection of new essays investigates both the potential intimacy of cinema as a medium and the possibility of a cinema of intimacy where it is least expected. As a notion defined by binaries--inside and outside, surface and depth, public and private, self and other--intimacy, because it implies sharing, calls into question the boundaries between these extremes, and the border separating mainstream cinema and independent or auteur cinema. Following on Thomas Elsaesser's theories of the relationship between the intimacy of cinema and the cinema of intimacy, the essays explore intimacy in silent and classic Hollywood movies, underground, documentary and animation films; and contemporary Hollywood, British, Canadian and Australian cinema from a variety of approaches.
“More than half a century since its initial publication, this deceptively compact book remains among the most incisive analyses of the formal and perceptual dynamics of cinema. No one who cares about film can afford to remain ignorant of its insights and wisdom. As digital technology fundamentally alters motion pictures, the lessons of Film as Art commend themselves as excellent insurance against reinventing the wheel in the new media landscape and hailing it as progress.”—Edward Dimendberg author of Film Noir and the Spaces of Modernity “After more than eight decades, Rudolph Arnheim's small book of film theory remains one of the essential works in defining film art, understanding film less as reproducing the world than as opening up new possibilities for formal play and unexpected imagery. Anyone serious about film, whether scholar, filmmaker or simply a lover of cinema, must take Arnheim seriously.”—Tom Gunning, author of The Films of Fritz Lang and D.W. Griffith and the Origins of American Narrative Film “An aesthetic theory based on the formal ‘limitations’ of the medium, Arnheim’s Film as Art always provokes students in an age of few limits and less formality, and they argue and engage this classic text with unparalleled passion. Written in the wake of sound’s transformation of the cinema, Arnheim’s essays are not only central to understanding a major historical moment in theoretical debates about what constitutes the ‘essence’ of film, but also are a must read for anyone seeking a lucid, detailed, and rigorous argument about how works of art emerge from expressive constraint as much as expressive freedom.”—Vivian Sobchack, author of Carnal Thoughts
A common refrain heard from instructors in offices across the world is that students have a hard time producing quality written discourse. This is no different in the world of film studies, where many undergraduate students struggle to cogently discuss the films they watch in class. How can film instructors help students become better writers? This book answers this question by, first, uncovering the disciplinary expectations we have for students, and then offering strategies to explicitly teach those expectations in the classroom. This book examines and identifies the disciplinary conventions of professional film studies discourse along with the expectations we have for student writing in undergraduate film courses. What becomes clear from this analysis is that the pedagogical expectations we have for students are aligned with, and shaped by, professional writing in the discipline. It helps to uncover the argument types instructors take for granted and helps those teaching undergraduate students not only to know what those expectations are, but also how to use that knowledge to foster better student writing.
Film Analysis offers concise analyses of fifty diverse and historically significant films—each written exclusively for the text by a leading scholar. Written with the undergraduate in mind, the essays are clear, readable, and great models for students to follow in helping them to hone their own writing. The Second Edition includes six new essays, a new, detailed guide to writing film analysis, and an extensive, up-to-date glossary of critical film terms.