The most comprehensive reference to film analysis available for middle school through to high school. Featuring coloured photographs illustrating key terms and filmic techniques this is a one-stop reference for any genre of ilm studied in English, Media or Film Studies courses.

This much-anticipated new edition builds upon the achievements of the first, taking stock of the many recent exciting developments in the field while retaining the historical coverage and depth of the original. The text is supported by over 250 illustrations, selected reading guides, and full bibliographies. Another unique feature of The Cinema Bookis its fifty-five sidebars that support the text with in-depth analysis and relevant information on over 350 films. This new edition will consolidateThe Cinema Book's position as the leading teaching aid in the field.

Scene by Scene consists of detailed, incisive discussions in which film directors and actors analyse key scenes from their film output. Those interviewed include such famous names as Lauren Bacall, Kirk Douglas, Sean Connery, Martin Scorsese, Rod Steiger, Dennis Hopper, Tom Hanks, Roman Polanski, Bernardo Bertolucci, Jack Lemmon, Steve Martin and many others. Presented in a lively and accessible manner by Mark Cousins and fully illustrated throughout, the book will appeal to the general reader and those wishing to learn about the craft of film-making.

This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analyzed with depth and clarity. Entries include: * auteur theory * Blaxploitation * British New Wave * feminist film theory * intertextuality * method acting * pornography * Third World Cinema * Vampire movies.

A comprehensive introduction to film that recognizes students as movie fans and helps them understand the art form's full scope. The authors situate their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we watch film, from economics and exhibition to marketing and the star system.

Mise-en-sc#65533;ne: Film Style and Interpretation explores and elucidates constructions of this fundamental concept in thinking about film. In uncovering the history of mise-en-sc#65533;ne within film criticism, and through the detailed exploration of scenes from films as Imitation of Life and Lone Star, John Gibbs makes the case for the importance of a sensitive understanding of film style, and provides an introduction to the skills of close reading. This book thus celebrates film-making as well as film criticism that is alive to the creative possibilities of visual style.

Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.

Basics Film-Making 04: The Language of Film explores the means by which film communicates meaning. Most films are a mosaic of fractured images and fragmented narratives, yet we have little problem piecing them together into a complete, meaningful sequence. The average audience is capable of following the most labyrinthine plots, feeling genuine emotion for characters, and believing that their worlds continue to exist even after the film has ended. This book discusses the stories films tell, the sign-systems they deploy, the interpretive contexts we are invited to place them in, and the range of aesthetic elements which contribute to the cinematic image.