Author(s): Kristin Thompson
Written by two of the leading scholars in film studies, "Film History: An Introduction" is a comprehensive, global survey of the medium that covers the development of every genre in film, from drama and comedy to documentary and experimental. As with the authors' bestselling "Film Art: An Introduction" (now in its eighth edition), concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic points of reference than competing books that rely on publicity stills. The third edition of "Film History" is thoroughly updated and includes the first comprehensive overviews of the impact of globalization and digital technology on the cinema. Any serious film scholar - professor, undergraduate, or graduate student - will want to read and keep "Film History".
Kristin Thompson is an Honorary Fellow at the University of Wisconsin - Madison. She holds a master's degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin - Madison. She has published Eisenstein's Ivan the Terrible (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), and Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. Heinman, 1992). In her spare time she studies Egyptology. The authors have collaborated on Film History (McGraw-Hill, 1994) with Janet Staiger, on The Classical Hollywood Cinema (Columbia University Press, 1985) and Storytelling in the New Hollywood (Harvard University Press, 1999) David Bordwell is Jacques Ledoux Professor of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate from the University of Iowa. He is the author of The Films of Carl Theodor Dreyer (University California Press, 1981), Narration in the Fiction Film (University Wisconsin Press, 1985), Ozu and the Poetics of Cinema (British Film Institute/Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997) and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000). He has won a University Distinguished Teaching Award.
Preface Introduction: Film History and How It Is Done Why Do We Care About Old Movies? What do Film Historians Do? Our Approach to Film History History as Story Part One: Early Cinema 1 The Invention and Early Years of the Cinema, 1880s-1904 The Invention of the Cinema Early Filmmaking and Exhibition 2 The International Expansion of the Cinema, 1905-1912 Film Production in Europe The Struggle for the Expanding American Film Industry The Problem of Narrative Clarity 3 National Cinemas, Hollywood Classicism and World War I, 1913-1919 The American Takeover of World Markets The Rise of National Cinemas The Classical Hollywood Cinema Small Producing Countries Part Two: The Late Silent Era, 1919-1929 4 France in the 1920s The French Film Industry after World War I Major Postwar Genres The French Impressionist Movement The End of French Impressionism 5 Germany in the 1920s The German Situation after World War I Genres and Styles of German Postwar Cinema Major Changes in the Mid- to Late 1920s The End of the Expressionist Movement New Objectivity Export and Classical Style 6 Soviet Cinema in the 1920s The Hardships of War Communism, 1918-1920 Recovery under the New Economic Policy, 1921-1924 Increased State Control and the Montage Movement, 1925-1930 Other Soviet Films The Five-Year Plan and the End of the Montage Movement 7 The Late Silent Era in Hollywood, 1920-1928 Theater Chains and the Structure of the Industry The Motion Picture Producers and Distributors of America Studio Filmmaking Films for African-American Audiences The Animated Part of the Program 8 International Trends of the 1920s "Film Europe" The "International Style" Film Experiments Outside the Mainstream Industry Documentary Features Gain Prominence Commercial Filmmaking Internationally Part Three: The Development of Sound Cinema, 1926-1945 9 The Introduction of Sound Sound in the United States Germany Challenges Hollywood The USSR Pursues Its Own Path to Sound The International Adoption of Sound 10 The Hollywood Studio System, 1930-1945 The New Structure of the Film Industry Exhibition Practice in the 1930s Continued Innovation in Hollywood Major Directors Genre Innovations and Transformations Animation and the Studio System 11 Other Studio Systems Quota Quickies and Wartime Pressures: The British Studios Innovation within an Industry: The Studio System of Japan India: An Industry Built on Music China: Filmmaking Caught between Left and Right 12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945 The Soviet Union: Socialist Realism and World War II The German Cinema under the Nazis Italy: Propaganda versus Entertainment 13 France: Poetic Realism, the Popular Front and the Occupation, 1930-1945 The Industry and Filmmaking during the 1930s Poetic Realism Brief Interlude: The Popular Front vFilmmaking in Occupied and Vichy France 14 Leftist, Documentary, and Experimental Cinema, 1930-1945 The Spread of Political Cinema Government- and Corporate-sponsored Documentaries Wartime Documentaries The International Experimental Cinema Part Four: The Postwar Era, 1946-1960s 15 American Cinema in the Postwar Era, 1946-1960 1946/1947/1948 The Decline of the Hollywood Studio System The New Power of the Individual Film The Rise of the Independents Classical Hollywood Filmmaking: A Continuing Tradition Major Directors: Several Generations 16 Postwar European Cinema: Neorealism and its Context, 1945-1959 The Postwar Context Film Industries and Film Culture Italy: Neorealism and After A Spanish Neorealism? 17 Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 French Cinema of the Postwar Decade Scandinavian Revival England: Quality and Comedy 18 Postwar Cinema Beyond the West, 1945-1959 General Tendencies Japan Postwar Cinema in the Soviet Sphere of Influence People's Republic of China India Latin America 19 Art Cinema and the Idea of Authorship The Rise and Spread of the Auteur Theory Authorship and the Growth of the Art Cinema Luis Bunuel (1900-1983) Ingmar Bergman (1918- ) Akira Kurosawa (1910-1998) Federico Fellini (1920-1993) Michelangelo Antonioni (1912- ) Robert Bresson (1907-1999) Jacques Tati (1908-1982) Satyajit Ray (1921-1992) 20 New Waves and Young Cinema, 1958-1967 The Industries' New Needs Formal and Stylistic Trends France: New Wave and New Cinema Italy: Young Cinema and Spaghetti Westerns Great Britain: "Kitchen Sink" Cinema Young German Film New Cinema in the USSR and Eastern Europe The Japanese New Wave Brazil: Cinema Novo 21 Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s Toward the Personal Documentary Direct Cinema Experimental and Avant-garde Cinema Part Five: The Contemporary Cinema Since the 1960s 22 Hollywood's Fall and Rise, 1960-1980 1960s: The Film Industry in Recession The New Hollywood: Late 1960s-Late 1970s Opportunities for Independents 23 Politically Critical Cinema of the 1960s and 1970s Political Filmmaking in the Third World Political Filmmaking in the First and Second Worlds 24 Documentary and Experimental Film Since the Late 1960s Documentary Cinema From Structuralism to Pluralism in Avant-garde Cinema 25 New Cinemas and New Developments: Europe and the USSR Since the 1970s Western Europe Eastern Europe and the USSR 26 A Developing World: Continental and Subcontinental Cinemas since 1970 New Cinemas, New Audiences African Cinema South America and Mexico: Interrupted Reforms and Partnerships with Hollywood Brazil India: Mass Output and Art Cinema 27 Cinema Rising: Pacific Asia and Oceania since 1970 Australia and New Zealand Japan Mainland China New Cinemas in East Asia Part Six: Cinema in the Age of New Media 28 American Cinema and the Entertainment Economy: The 1980s and After Hollywood, Cable Television, and Home Video Concentration and Consolidation in the Film Industry Artistic Trends A New Age of Independent Cinema 29 Toward a Global Film Culture Hollyworld? Regional Alliances and the New International Film Diasporic Cinema The Festival Circuit Video Piracy: An Alternative Distribution System Fan Subcultures: Appropriating the Movies 30 Digital Technology and the Cinema Digital Tools for Filmmaking Distribution and Exhibition New Media, Film, and Digital Convergence