![]() Kristin Thompson is an Honorary Fellow in the Department of Communication Arts at the University of Wisconsin-Madison, where she earned her Ph.D. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry.CHAPTER 1: The Invention and Early Years of the Cinema, 1880s - 1904ĬHAPTER 2: The International Expansion of the Cinema, 1905 - 1912ĬHAPTER 3: National Cinemas, Hollywood Classicism and World War I, 1913 - 1919ĬHAPTER 7: The Late Silent Era in Hollywood, 1920 - 1928ĬHAPTER 8: International Trends of the 1920sĬHAPTER 10: The Hollywood Studio System, 1930 - 1945ĬHAPTER 12: Cinema and the State: The USSR, Germany, and Italy, 1930 - 1945ĬHAPTER 13: France: Poetic Realism, the Popular Front and the Occupation, 1930 - 1945ĬHAPTER 14: Leftist, Documentary, and Experimental Cinema, 1930 - 1945ĬHAPTER 15: American Cinema in the Postwar Era, 1945 - 1960ĬHAPTER 16: Postwar European Cinema: Neorealism and its Context, 1945 - 1959ĬHAPTER 17: Postwar European Cinema: France, Scandinavia, and Britain, 1945 - 1959ĬHAPTER 18: Postwar Cinema Beyond the West, 1945 - 1959ĬHAPTER 19: Art Cinema and the Idea of AuthorshipĬHAPTER 20: New Waves and Young Cinema, 1958 - 1967ĬHAPTER 21: Documentary and Experimental Cinema in the Postwar Era, 1945 - Mid 1960sĬHAPTER 22: Hollywood's Fall and Rise, 1960 - 1980ĬHAPTER 23: Politically Critical Cinema of the 1960s and 1970sĬHAPTER 24: Documentary and Experimental Film Since the Late 1960sĬHAPTER 25: New Cinemas and New Developments: Europe and the USSR Since the 1970sĬHAPTER 26: A Developing World: Continental and Subcontinental Cinemas since 1970ĬHAPTER 27: Cinema Rising: Pacific Asia and Oceania since 1970ĬHAPTER 28: American Cinema and the Entertainment Economy: The 1980s and AfterĬHAPTER 30: Digital Technology and the Cinema Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. The authors also examine how the Hollywood cinema standardized the film-making process itself. They argue that each new technological development has served a function within an existing narrational system. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. ![]() Such assumptions are neither natural nor inevitable but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. ![]() 'Persuasively argued, the book is also packed with facts, figures and photographs.' Nigel Andrews Financial TimesĪcclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations.ĭespite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. 'At the very least, this blockbuster is probably the best single volume history of Hollywood we're likely to get for a very long time.' Paul Kerr City Limits 'A dense, challenging and important book.' Philip French Observer
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