Machine generated contents note: Questions for Review. Looking at Movies -- What Is a Movie? -- The Movie Director -- Ways of Looking at Movies -- Invisibility and Cinematic Language -- Cultural Invisibility -- Implicit and Explicit Meaning -- Viewer Expectations -- Formal Analysis -- Cultural Analysis -- Analyzing Looking at Movies -- Screening Checklist: Looking at Movies -- Questions for Review -- Learning Objectives -- Film Form -- Form and Content -- Form and Expectations -- Patterns -- Fundamentals of Film Form -- Movies Depend on Light -- Movies Provide an Illusion of Movement -- Movies Manipulate Space and Time in Unique Ways -- Realism, Antirealism, and Formalism -- Verisimilitude -- Cinematic Language -- Looking at Film Form: Donnie Darko -- Content -- Expectations -- Patterns -- Manipulating Space -- Manipulating Time -- Realism, Antirealism, and Verisimilitude -- Analyzing Principles of Film Form Screening Checklist: Principles of Film Form -- Questions for Review -- Learning Objectives -- The Idea of Narrative -- Types of Movies -- Narrative Movies -- Documentary Movies -- Experimental Movies -- Hybrid Movies -- Genre -- Genre Conventions -- Story Formulas -- Theme -- Character Types -- Setting -- Presentation -- Stars -- Six Major American Genres -- Gangster -- Film Noir -- Science Fiction -- Horror -- The Western -- The Musical -- Evolution and Transformation of Genre -- What about Animation? -- Looking at the Types of Movies in The Lego Movie -- Analyzing Types of Movies -- Screening Checklist: Types of Movies -- Questions for Review -- Learning Objectives -- What Is Narrative? -- Characters -- Narrative Structure -- The Screenwriter -- Elements of Narrative -- Story and Plot -- Order -- Events -- Duration -- Suspense versus Surprise -- Repetition -- Setting -- Scopem Form Looking at Narrative in Stagecoach -- Story -- Narration and Narrator -- Characters -- Narrative Structure -- Plot -- Order -- Diegetic and Nondiegetic Elements -- Events -- Duration -- Suspense -- Setting -- Scope -- Analyzing Elements of Narrative -- Screening Checklist: Elements of Narrative -- Questions for Review -- Learning Objectives -- What Is Mise-en-Scene? -- Design -- The Production Designer -- Elements of Design -- Setting, Decor, and Properties -- Costume, Makeup, and Hairstyle -- Lighting -- Quality -- Lighting Ratios -- Direction -- Composition -- Kinesis -- Approaches to Mise-en-Scene -- Looking at Mise-en-Scene in Sleepy Hollow -- Lighting and Setting -- Costumes, Makeup, and Hairstyle -- Analyzing Mise-en-Scene -- Screening Checklist: Mise-en-Scene -- Questions for Review -- Learning Objectives -- What Is Cinematography? -- The Director of Photography -- Production Terms and Tasks Cinematographic Properties of the Shot -- Film and Digital Formats -- Black and White -- Color -- Lighting Sources -- Lenses -- Framing of the Shot -- Implied Proximity to the Camera -- Depth -- Camera Angle and Height -- Eye Level -- High Angle -- Low Angle -- Dutch Angle -- Bird's-Eye View -- Camera Movement -- Pan and Tilt Shots -- Dolly Shot -- Zoom -- Crane Shot -- Handheld Camera -- Steadicam -- Framing: What We See on the Screen -- Open and Closed Framing -- Framing and Point of View -- Speed and Length of the Shot -- Speed of the Shot -- Length of the Shot -- Special Effects -- Looking at Cinematography in Moonlight -- Analyzing Cinematography -- Screening Checklist: Cinematography -- Questions for Review -- Learning Objectives -- What Is Acting? -- Movie Actors -- The Evolution of Screen Acting -- Early Screen-Acting Styles -- D.W. Griffith and Lillian Gish -- The Influence of Soundasks Acting in the Classical Studio Era -- Method Acting -- Screen Acting Today -- Technology and Acting -- Casting Actors -- Factors Involved in Casting -- Aspects of Performance -- Types of Roles -- Preparing for Roles -- Naturalistic and Nonnaturalistic Styles -- Improvisational Acting -- Directors and Actors -- How Filmmaking Affects Acting -- Framing, Composition, Lighting, and the Long Take -- The Camera and the Close-Up -- Acting and Editing -- Looking at Acting -- Michelle Williams -- Analyzing Acting -- Screening Checklist: Acting -- Questions for Review -- Learning Objectives -- What Is Editing? -- The Film Editor -- Functions of Editing -- Fragmentation -- Juxtaposition and Meaning -- Spatial Relationships between Shots -- Temporal Relationships between Shots -- Duration, Pace, and Rhythm -- Major Approaches to Editing: Continuity and Discontinuity -- Conventions of Continuity Editinguence of Soundasks Shot Types and Master Scene Technique -- The 180-Degree Rule and Screen Direction -- Editing Techniques That Maintain Continuity -- Match Cuts -- Point-of-View Editing -- Other Transitions between Shots -- Jump Cut -- Fade -- Dissolve -- Wipe -- Iris Shot -- Looking at Editing: City of God -- The Opening Sequence -- Sharpening the Knife -- The Chicken Gets the Gist -- The Chicken Escapes -- The Chase, Part 1 -- Parallel Editing -- The Chase, Part 2 -- The Standoff in the Street -- Analyzing Editing -- Screening Checklist: Editing -- Questions for Review -- Learning Objectives -- What Is Sound? -- Sound Production -- Design -- Recording -- Editing -- Mixing -- Describing Film Sound -- Pitch, Loudness, Quality -- Fidelity -- Sources of Film Sound -- Diegetic versus Nondiegetic -- On-Screen versus Offscreen -- Internal versus External -- Types of Film Sound -- Vocal Sounds -- Environmental Soundsks Music -- Silence -- Types of Sound in Steven Spielberg's War of the Worlds -- Functions of Film Sound -- Audience Awareness -- Audience Expectations -- Expression of Point of View -- Rhythm -- Characterization -- Continuity -- Emphasis -- Looking at (and Listening to) Sound in Orson Welles's Citizen Kane -- Sources and Types -- Functions -- Characterization -- Themes -- Analyzing Sound -- Screening Checklist: Sound -- Questions for Review -- Learning Objectives -- What Is Film History? -- Basic Approaches to Studying Film History -- The Aesthetic Approach -- The Technological Approach -- The Economic Approach -- The Social History Approach -- A Short Overview of Film History -- Precinema -- Photography -- Series Photography -- 1891-1903: The First Movies -- 1908-1927: Origins of the Classical Hollywood Style-The Silent Period -- 1919-1931: German Expressionism -- 1918-1930: French Avant-Garde Filmmaking--ks 1924-1930: The Soviet Montage Movement -- 1927-1947: Classical Hollywood Style in Hollywood's Golden Age -- 1942-1951: Italian Neorealism -- 1959-1964: French New Wave -- 1947-Present: Movements and Developments in International Cinema -- England and the Free Cinema Movement -- Denmark and the Dogme -- Movement -- Germany and Austria -- Japan -- China -- The People's Republic -- Hong Kong -- Taiwan -- India -- Contemporary Middle Eastern and North African Cinema -- Algeria -- Egypt -- Iraq -- Iran -- Israel -- Lebanon -- Palestine -- Saudi Arabia -- Latin American Filmmaking -- Argentina -- Brazil -- Cuba -- Mexico -- 1965-1995: The New American Cinema -- Looking at Citizen Kane and Its Place in Film History -- Analyzing Film History -- Screening Checklist: Film History -- Questions for Review -- Learning Objectives -- Money, Methods, and Materials: The Whole EquationFrench Avant-Garde Filmmaking--ks Film and Digital Technologies: An Overview -- Film Technology -- Digital Technology -- Film versus Digital Technology -- How a Movie Is Made -- Preproduction -- Production -- Postproduction -- The Studio System -- Organization before 1931 -- Organization after 1931 -- Organization during the Golden Age -- The Decline of the Studio System -- The Independent System -- Labor and Unions -- Professional Organizations and Standardization -- Financing in the Industry -- Marketing and Distribution -- Production in Hollywood Today -- Audience Demographics -- Franchises -- LGBTQ+ Movies -- African American Movies -- Foreign Influences on Hollywood Films -- Looking at the Future of the Film Industry -- Analyzing How the Movies Are Made -- Screening Checklist: How the Movies Are Made -- Questions for Review.
Summary:
"Students love watching movies. Give them the tools to understand why. Building on students' enthusiasm for screened entertainment, Looking at Movies is more successful than any other text at motivating students to understand and analyze what they see onscreen. The Seventh Edition features new and refreshed video, assessment, and interactive media, making the book's pathbreaking media program more assignable and gradable than ever before. Looking at Movies gives instructors all they need to inspire students to graduate from passive watching to active looking"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.