The Film Experience
An Introduction
by Timothy Corrigan, Patricia White
6th Edition
Publisher: Bedford/St. Martin's
(0 reviews)
Book Details
| Print ISBN | 9781319208189 |
| eText ISBN | 9781319324216 |
| Publisher | Bedford/St. Martin's |
| Publishing Year | 2021 |
| Edition | 6th Edition |
| Language | English |
Authored by Timothy Corrigan and Patricia White and published by Bedford/St. Martin's, The Film Experience: An Introduction, 6th Edition, is an introductory textbook designed to guide college students through the visual language and formal structures of motion pictures. The volume establishes foundational principles for understanding how films operate as artistic and commercial mediums.
The material covers the complete trajectory of film production from preproduction to exhibition, contextualized by historical perspectives across Hollywood and global cinema. Individual chapters examine narrative films, documentary films, experimental media, and movie genres. In addition, the text analyzes core formal elements such as cinematography, editing, and sound, illustrating how these individual techniques function together inside a complete motion picture.
To present a comprehensive view of cinema, the textbook integrates targeted material addressing diversity, inclusion, and traditions outside mainstream filmmaking. This focus provides college students in introductory screen studies with concrete tools to analyze both conventional Hollywood titles and alternative media practices.
Table of Contents
Chapter 1: Encountering Film: From Preproduction to Exhibition
- • Production: How Films Are Made
- • Preproduction
- • Production
- • Postproduction
- • Distribution: What We Can See
- • Distributors
- • Ancillary Markets
- • Distribution Timing
- • Marketing and Promotion: What We Want to See
- • Generating Interest
- • Film in Focus: Distributing Killer of Sheep (1977)
- • Advertising
- • Technology in Action: The Changing Technologies of Film Promotion
- • Word of Mouth and Fan Engagement
- • Movie Exhibition: The Where, When, and How of Movie Experiences
- • The Changing Contexts and Practices of Film Exhibition
- • Technologies and Cultures of Exhibition
- • The Timing of Exhibition
- • Film in Focus: Exhibiting Citizen Kane (1941)
- • Chapter 1 Review
Chapter 2: History and Historiography: Hollywood and Beyond
- • Silent Cinema
- • Silent Features in Hollywood
- • German Expressionist Cinema
- • Soviet Silent Films
- • French Cinema
- • History Close Up: Oscar Micheaux
- • Classical Cinema in Hollywood and Beyond
- • European Cinema in the 1930s and 1940s
- • Golden Age Mexican Cinema
- • Postwar Cinemas (1945-1975)
- • Postwar Hollywood
- • International Art Cinema
- • Film in Focus: Mother India and Postwar History (1957)
- • Cinematic Globalization (1975-2000)
- • New Hollywood in the Blockbuster Era
- • The Commercial Auteur
- • American Independent Cinema
- • From National to Transnational Cinema in Europe
- • African Cinema
- • Chinese Cinema
- • Iranian Cinema
- • Cinema in the Digital Era (2000-present)
- • Global Hollywood
- • Diversifying Screens
- • Culture in the Twenty-First Century
- • Technology in Action: Film Preservation and Archives
- • Film in Focus: Rediscovering Within Our Gates (1920)
- • Chapter 2 Review
Chapter 3: Mise-en-Scène: Exploring a Material World
- • A Short History of Mise-en-Scène
- • Theatrical Mise-en-Scène and the Prehistory of Cinema
- • 1900-1912: Early Cinemas Theatrical Influences
- • 1915-1928: Silent Cinema and the Star System
- • 1930s-1960s: Studio-Era Production
- • 1940-1970: New Cinematic Realism
- • 1975-Present: Mise-en-Scène and the Blockbuster
- • The Elements of Mise-en-Scène
- • Settings and Sets
- • Scenic Realism and Atmosphere
- • Props, Costumes, and Lights
- • Performance: Actors and Stars
- • Film in Focus: Mise-en-Scène in Do the Right Thing (1989)
- • Technology in Action: Scenic Lighting
- • Thinking about Mise-en-Scène
- • Mise-en-Scène as an External Condition or a Measure of Character
- • Primary Traditions for Mise-en-Scène
- • Film in Focus: Naturalistic Mise-en-Scène in Bicycle Thieves (1948)
- • Chapter 3 Review
Chapter 4: Cinematography: Framing What We See
- • A Short History of the Cinematic Image
- • 1820s-1880s: The Invention of Photography and the Prehistory of Cinema
- • 1890s–1920s: The Emergence and Refinement of Cinematography
- • 1930s–1940s: Developments in Color, Wide-Angle, and Small-Gauge Cinematography
- • 1950s–1960s: Widescreen, 3-D, and New Color Processes
- • 1970s–1980s: Cinematography and Exhibition in the Age of the Blockbuster
- • 1990s to the Present: The Digital Era
- • The Elements of Cinematography
- • Point of View
- • Four Attributes of the Shot
- • Technology in Action: Color in Film
- • From Special Effects to Visual Effects
- • Thinking about Cinematography
- • The Image as Presentation and Representation
- • Traditions of Images
- • Film in Focus: Recreating History in Once Upon a Time… in Hollywood (2019)
- • Chapter 4 Review
Chapter 5: Editing: Relating Images
- • A Short History of Film Editing
- • 1895–1918: Early Cinema and the Emergence of Editing
- • 1919–1929: Soviet Montage
- • History Close Up: Women in the Editing Room
- • 1930–1959: Continuity Editing in the Hollywood Studio Era
- • 1960–1989: Modern Editing Styles
- • 1990s–Present: Editing in the Digital Age
- • The Elements of Editing
- • The Cut and Other Transitions
- • Continuity Style
- • Art Cinema Editing
- • Editing and Temporality
- • Technology in Action: Editing, Traditional and Digital
- • Thinking about Film Editing
- • Film in Focus: Patterns of Editing in Bonnie and Clyde (1967)
- • Editing as a Subjective Experience or as an Objective Perspective
- • Primary Traditions in Editing Practices: Continuity, Disjunctions, and Convergences
- • Converging Editing Styles
- • Chapter 5 Review
Chapter 6: Film Sound: Listening to the Camera
- • A Short History of Film Sound
- • Prehistories of Film Sound
- • 1895–1920s: The Sounds of Silent Cinema
- • 1927–1930: Transition to Synchronized Sound
- • 1930s–1940s: Challenges and Innovations in Cinema Sound
- • 1950s–1980s: From Stereophonic to Dolby Sound
- • 1990s–Present: Sound in the Digital Era
- • The Elements of Film Sound
- • Sound and Image
- • Technology in Action: Sound and Image
- • Film in Focus: Sound and Image in Singin in the Rain (1952)
- • Sound Production
- • Voice in Film
- • Music in Film
- • Sound Effects in Film
- • Thinking about Film Sound
- • Sound Continuity and Sound Montage
- • Authenticity and Attention
- • Film in Focus: The Sound of Silence in A Quiet Place (2018)
- • Chapter 6 Review
Chapter 7: Narrative Films: Telling Stories
- • A Short History of Narrative Film
- • 1900–1920s: Adaptations, Scriptwriters, and Screenplays
- • 1927–1950: The Coming of Sound and Classical Hollywood Narrative
- • 1950–1980: Art Cinema
- • 1980s–Present: Franchises, Narrative Reflexivity, and Games
- • History Close Up: Salt of the Earth (1954)
- • The Elements of Narrative Film
- • Stories and Plots
- • Characters
- • Diegetic and Nondiegetic Elements
- • Narrative Patterns of Time
- • Narrative Space
- • Narrative Perspectives
- • Technology in Action: Immersive Film Narrative
- • Film in Focus: Narration and Gender in Gone Girl (2014)
- • Thinking about Film Narrative
- • Shaping Memory, Making History
- • Narrative Traditions
- • Film in Focus: Classical and Alternative Traditions in Mildred Pierce (1945) and Daughters of the Dust (1991)
- • Chapter 7 Review
Chapter 8: Documentary Films: Representing the Real
- • A Short History of Documentary Cinema
- • A Prehistory of Documentaries
- • 1895–1905: Early Actualities, Scenics, and Topicals
- • The 1920s: Robert Flaherty and the Soviet Documentaries
- • 1930–1945: The Politics and Propaganda of Documentary
- • 1950s–1970s: New Technologies and the Arrival of Television
- • 1980s–Present: Digital Cinema, Cable, and Reality TV
- • The Elements of Documentary Films
- • Nonfiction and Non-Narrative
- • Expositions: Organizations That Show or Describe
- • Film in Focus: Nonfiction and Non-Narrative in Stories We Tell (2013)
- • Rhetorical Positions
- • Thinking about Documentary Films
- • Confronting Assumptions
- • Altering Opinions
- • Interpretive Contexts and Traditions
- • History Close Up: Indigenous Media
- • Technology in Action: Documentary Sound
- • Chapter 8 Review
Chapter 9: Animation and Experimental Media: Challenging Form
- • A Short History of Animation and Experimental Media
- • 1910s-1920s: Early Avant-Garde Movements
- • 1930s-1940s: Sound and Vision
- • Film in Focus: Avant-Garde Visions in Meshes in the Afternoon (1943)
- • 1950s-1960s: International Animation and the Postwar American Avant-Garde
- • History Close Up: Floyd Norman
- • 1968-1980: Beyond North America
- • 1989-Present: New Technologies and New Media
- • Principles of Experimental Media and Animation
- • Abstraction and Figuration
- • Experimental Organizations: Associative, Structural, and Participatory
- • Animation Modes: 2D, 3D, Stop-Motion
- • Technology in Action: Animation through the Decades
- • Thinking about Experimental Media and Animation
- • Expanding Perception
- • Experimental Film Styles and Approaches
- • Film in Focus: Spider-Man: Into the Spider-Verse (2018)
- • Chapter 9 Review
Chapter 10: Movie Genres: Conventions, Formulas, and Audience Expectations
- • A Short History of Film Genre
- • Historical Origins of Genres
- • 1890s-1910s: Early Film Genres
- • 1920s-1940s: Genre and the Studio System
- • 1948-1970s: Postwar Film Genres
- • 1970s-Present: New Hollywood, Sequels, and Global Genres
- • The Elements of Film Genre
- • Conventions
- • Formulas and Myths
- • Audience Expectations
- • Technology in Action: Special Effects and Iconography in Science Fiction
- • Six Movie Genres
- • Comedies
- • Westerns
- • Melodramas
- • Musicals
- • Horror Films
- • Film in Focus: Genre and Gender in Jennifers Body (2009)
- • Crime Films
- • Thinking about Film Genre
- • Prescriptive and Descriptive Approaches
- • Classical and Revisionist Traditions
- • History Close Up: John Waters and Midnight Movies
- • Local and Global Genres
- • Chapter 10 Review
Chapter 11: Reading about Film: Critical Theories and Methods
- • The Evolution of Film Theory
- • Early Film Theory
- • Classical Film Theories: Formalism and Realism
- • Postwar Film Culture and Criticism
- • Film Journals
- • Auteur Theory
- • Genre Theory
- • Contemporary Film Theory
- • Structuralism and Semiotics
- • Poststructuralism
- • Theories of Gender and Sexuality
- • Cultural Studies
- • Film in Focus: Clueless about Contemporary Film Theory? (1995)
- • Film and Philosophy
- • Postmodernism
- • Film Theory and Digital Culture
- • Chapter 11 Review
Chapter 12: Writing a Film Essay: Observations, Arguments, Research, and Analysis
- • Writing an Analytical Essay
- • Personal Opinion and Objectivity
- • Identifying Your Readers
- • Elements of the Analytical Film Essay
- • Preparing to Write about a Film
- • Asking Questions
- • Taking Notes
- • Selecting a Topic
- • Film in Focus: Analysis, Audience, and Minority Report (2002)
- • Elements of a Film Essay
- • Thesis Statement
- • Outline and Topic Sentences
- • Revising, Formatting, and Proofreading
- • Writers Checklist
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- https://redshelf.com/app/ecom/book/1638601/the-fil...
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- Film Experience | Rent | 9781319059514
- Film Experience | Rent | 9781319208189
- The film experience : an introduction
- The Film Experience An Introduction | Rent | 9781319208189
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