Preface
Acknowledgments
Chapter 1 PHOTOGRAPHY
Realism and Formalism
The Shots
The Angles
Light and Dark
Color
Lenses， Filters， and Stocks
The Digital Revolution
The Cinematographer
Further Reading
Chapter 2 MISE EN SC?NE
Composition and Design
Territorial Space
Proxemic Patterns
Open and Closed Forms
Further Reading
Chapter 3 MOVEMENT
The Moving Camera
Mechanical Distortions of Movement
Further Reading
Chapter 4 EDITING
Continuity
D. W. Griffith and Classical Cutting
Soviet Montage and the Formalist Tradition
André Bazin and the Tradition of Realism
Further Reading
Chapter 5 SOUND
Historical Background
Sound Effects
Music
Musicals
Spoken Language
Further Reading
Chapter 6 ACTING
Stage and Screen Acting
The American Star System
Styles of Acting
Casting
Further Reading
Chapter 7 DRAMATIZATION
Time， Space， and Language
The Director
Settings and Décor
Costumes and Makeup
Further Reading
Chapter 8 STORY
Narratology
The Spectator
The Classical Paradigm
Realistic Narratives
Formalistic Narratives
Nonfictional Narratives
Genre and Myth
Further Reading
Chapter 9 WRITING
The Screenwriter
The Screenplay
North by Northwest:he Screenplay
Figurative Comparisons
Point of View
Literary Adaptations
Further Reading
Chapter 10 IDEOLOGY
The Left-Center-Right Model
Culture， Religion， and Ethnicity
Feminism
Queer Cinema
Tone
Further Reading
Chapter 11 CRITIQUE
Theories of Realism
Formalist Film Theories
The Auteur Theory
Eclectic and Synthesizing Approaches
Structuralism and Semiology
Historiography
Further Reading
Chapter 12 SYNTHESIS: Citizen Kane
Photography
Mise en Scène
Movement
Editing
Sound
Acting
Dramatization
Story
Writing
Ideology
Critique
Further Reading
Glossary
Text Credits
Index
內容試閱：
Realism and Formalism
Even before 1900， movies began to develop in two major directions: the realistic and the formalistic. In the mid?1890s in France， the Lumi?re brothers delighted audiences with their short movies dealing with everyday occurrences. Such films as The Arrival of a Train (see 4-4a) fascinated viewers precisely because they seemed to capture the flux and spontaneity of events as they were viewed in real life. At about the same time， Georges Méliès (pronounced mel-yez) was creating a number of fantasy films that emphasized purely imagined events. Such movies as A Trip to the Moon (see 4-4b) were typical mixtures of whimsical narrative and trick photography. In many respects， the Lumières can be regarded as the founders of the realist tradition of cinema， and Méliès of the formalist tradition.
Realism and formalism are general rather than absolute terms. When used to suggest a tendency toward either polarity， such labels can be helpful， but in the end they‘re just labels. Few films are exclusively formalist in style， and fewer yet are completely realist. There is also an important difference between realism and reality， although this distinction is often forgotten. Realism is a particular style， whereas physical reality is the source of all the raw materials of film， both realistic and formalistic. Virtually all movie directors go to the photographable world for their subject matter， but what they do with this material-how they shape and manipulate it-is what determines their stylistic emphasis.
Generally speaking， realistic films attempt to reproduce the surface of reality with a minimum of distortion. In photographing objects and events， the filmmaker tries to suggest the richness of life itself. Both realist and formalist film directors must select(and hence， emphasize)certain details from the chaotic sprawl of reality. But the element of selectivity in realistic films is less obvious. Realists， in short， try to preserve the illusion that their film world is unmanipulated， an objective mirror of the actual world. Formalists， on the other hand， make no such pretense. They deliberately stylize and distort their raw materials so that no one would mistake a manipulated image of an object or event for the real thing. The stylization calls attention to itself: It’s part of the show.
We rarely notice the style in a realistic movie because the artist tends to be self-effacing， invisible. Such filmmakers are more concerned with what‘s being shown rather than how it’s manipulated. The camera is used conservatively. It‘s essentially a recording mechanism that reproduces the surface of tangible objects with as little commentary as possible. Some realists aim for a rough look in their images， one that doesn’t prettify the materials with a self-conscious beauty of form. ”If it‘s too pretty， it’s false，” is an implicit assumption. A high premium is placed on simplicity， spontaneity， and directness. This is not to suggest that these movies lack artistry， however， for at its best， the realistic cinema specializes in art that conceals its artistry.
Formalist movies are stylistically flamboyant. Their directors are concerned with expressing their subjective experience of reality， not how other people might see it. Formalists are often referred to as expressionists， because their self-expression is at least as important as the subject matter itself. Expressionists are often concerned with spiritual and psychological truths， which they feel can be conveyed best by distorting the surface of the material world. The camera is used as a method of commenting on the subject matter， a way of emphasizing its essential rather than its objective nature. Formalist movies have a high degree of manipulation， a stylization of reality.
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