The Film Experience: An Introduction 4th Edition

screen. • Describe how the mechanisms of film distribution determine what films we can see as well as when and how we can see them. • Analyze how film promotion may predispose us to see certain films and to see them in certain ways. • Evaluate the ways in which film exhibition both structures

Define what conventions, formulas, and expectations are seen in genre films. • Identify the six major genres—comedy, the western, melodrama, the musical, the horror film, the crime film— and their subgenres. • Summarize how audiences understand certain film types as a way of making meaning through genre. CHAPTER OVERVIEW Chapter 10 focuses on genre, which may

Outline the major positions in classical film theory, from Soviet montage theory to realism. • Demonstrate knowledge about the key schools of thought within contemporary film theory, including semiotics and structuralism, psychoanalysis and apparatus theory; feminist, queer, and critical race theory; cultural studies; philosophical approaches; and postmodernism. CHAPTER OVERVIEW Chapter 11 explores major methods, concepts,

Choose a topic and develop it into a thesis and argument for a paper. • Conduct research and integrate sources. • Acquire the skills to turn your work into a polished essay. CHAPTER OVERVIEW Since the beginning of the movies, writers of reviews, scholarly essays, and philosophical books have debated the achievements of individual films

the score. Remind them that it is an approximation of what might have been playing when the original audiences watched. Perhaps show it once without sound. 2. How is the gag set up by editing? Much of the gag’s effectiveness relies on audience anticipation. Ask students to explain which shots make them expect the

as transnational influences. Identify film practices and filmmakers marginalized by traditional Hollywood-centered histories. Describe “lost” film history and the importance of film presentation. CHAPTER OVERVIEW Chapter 2 is the second chapter in the first section, which identifies institutional, cultural, and historical contexts that shape the film experience. It begins with a historical overview of Hollywood

and props relate to a film's story. Explain how actors and performance styles contribute to mise-en-scène. Summarize the ways costumes and make-up shape our perception of a character. Explain how lighting is used to evoke particular meanings and moods. Compare and contrast the various ways in which mise-en-scène directs our

point of view according to different distances and angles. • Explain how film shots use the depth of the image in various ways. • Identify how the elements of cinematography—film stock, color, lighting, and compositional features of the image—can be employed in a movie. • Compare and contrast the effects of different patterns of

continuity editing. • Identify the ways in which graphic or rhythmic patterns are created by editing. • Discuss the ways editing organizes images as meaningful scenes and sequences. • Summarize how editing strategies engage filmic traditions of continuity or disjuncture. CHAPTER OVERVIEW Chapter 5 is the third of four chapters that identify the formal and

and cultural influences. • Explain how sounds convey meaning in relationship to images. • Summarize how sounds are recorded, combined, and reproduced. • List the various functions of the voice. • Describe the principles and practices that govern the use of music. • Outline the principles and practices that govern the use of sound effects. • Analyze

can arrange the events of a story in different ways. Identify the way film characters motivate actions in a story. Break down the way plots create different temporal and spatial schemes. Describe how the power of narration and narrative point of view determine our understanding of a story. Distinguish the differences between classical and

documentary movies make and draw on specific historical heritages. • Explain the common formal strategies and organizations used in documentary films. • Summarize how documentary films have become associated with cultural values and traditions from which we develop filmic meaning. CHAPTER OVERVIEW Chapter 8 is the second chapter in the section dealing with movie genres and

these works explore the formal properties of their media. • Discuss how experimental media can both challenge, and become part of, dominant film forms and institutions. • Examine some of the common organizations, styles, and perspectives in experimental media. • Show how viewers can prepare themselves to watch and appreciate experimental works. • Explain ways that the

of the options are correct.* The answer can be found on p. 19. 2. In the 1990s, independent films were typically financed A. with leftover money from the major movie studios. B. through presales of distribution or broadcast rights in different markets.* C. by the director’s personal funds. D. by working with large financial institutions. E. All

specific genres. C. refine their production line techniques. D. efficiently recycle formulas and conventions, stars, and sets. E. All of the options are correct.* The answer can be found on p. 342. 2. In the first films of the 1890s, common formulas for short films included A. westerns. B. “blue movies.”* C. sporting events. D. slapstick comedies. E. None of

psychoanalysis and in particular to French psychoanalyst Jacques Lacan’s definition of a particular realm of psychic experience. E. All of the options are correct.* The answer can be found on p. 392. 2. In her essay, “Is the Gaze Male?,” E. Ann Kaplan notes that A. women enjoy being looked at by men. B. vision is

found on p. 60. 2. For many historians, cinema history began with the first screening of A. The Derby. B. Workers Leaving the Lumière Factory.* C. Fred Ott’s Sneeze. D. The Lonedale Operator. E. None of the options is correct. The answer can be found on p. 58. 3. Which of the following statements accurately describes German expressionist

The function of costumes and make-up in films is A. to help viewers understand and follow a character and the development of the story. B. to reproduce the clothing and facial features of people living in a specific time and place. C. to signify genre. D. to draw out or point to important parts

(or compressed) lens to achieve a widescreen aspect ratio.* E. All of the options are correct. The answer can be found on p. 135. 2. Onscreen space refers to A. action less important than the action in the frame. B. the space visible within the frame of the image.* C. a small circular piece of the

more shots that describe a continuous space, time, and action.* E. None of the options is correct. The answer can be found on pp. 195-96. 2. Man with the Movie Camera was A. Soviet filmmaker Dziga Vertov’s 1929 film.* B. a Soviet documentary filmmaking group that included Dziga Vertov. C. modernist, politically engaged filmmaking in the

clapboard. C. a sound bridge. D. a walla. E. None of the options is correct. The answer can be found on p. 220. 2. After the introduction of synchronized sound in 1927, the Movietone system A. recorded sound directly onto the film stock.* B. synchronized a phonograph record with the projector. C. used live performers who sang along

quality of the character. D. a loss of or return to some previous state or a deterioration from the present state. E. All of the options are correct.* The answer can be found on pp. 258-259. 2. A historical narrative location A. is transformed through spiritual or other abstract means

options is correct. The answer can be found on p. 289. 2. In 1926, the term “documentary film” was coined by A. F. W. Murnau. B. John Grierson.* C. Robert Flaherty. D. Dziga Vertov. E. the Man of Aran. The answer can be found on p. 284. 3. Personal documentaries became a rapidly growing subgenre in the 1980s because

Lenin* E. None of the options is correct. The answer can be found on p. 315. 2. Which of the following is not a “city symphony” film? A. Manhatta (1921) B. Borderline (1930)* C. Berlin: Symphony of a Great City (1927) D. Man with a Movie Camera (1929) E. All of the options are correct. The answer can be