Rohmer, Eric and Chabrol, Claude, Hitchcock: The First Forty-Four Films (New York: Ungar, 1979).
The first book-length study of Alfred Hitchcock’s films, first published in French in 1957 by these two prominent writers for Cahiers du Cinéma.
Rothman, William, Documentary Film Classics (Cambridge and New York: Cambridge University Press, 1997).
This book contains a series of close, detailed readings of a select number of important and well-known documentaries: Nanook of the North (Robert Flaherty, 1922); Land Without Bread (Luis Buñuel, 1933); Night and Fog (Alain Resnais, 1955); Chronicle of a Summer (Rouch and Morin, 1961); A Happy Mother’s Day (Richard Leacock and Joyce Chopra, 1963); and Don’t Look Back (D A Pennebaker, 1967).
Salt, Barry, Film Style and Technology: History and Analysis, Second Edition (London: Starword, 1992).
The research carried out for this book is phenomenal and simply overwhelming. Salt has analysed literally thousands of films shot by shot from each decade of the cinema, noting the stylistic parameters of each shot and scene, and representing this information statistically (including bar charts of shot scales of individual films). The book is also packed with information on the history of film technology.
Sarris, Andrew, The American Cinema: Directors and
Directions: 1929–1968 (New York: Da Capo Press, 1996).
Bibliography 213
First published in 1968 and fortunately republished by Da Capo Press, this is the bible of auteur studies. The 11 categories in which Sarris places various directors (‘Less than meets the eye’, ‘Make way for the clowns!’) may be a little quirky, but the dictionary-length and mini essays on predominately American directors are invaluable.
Sharff, Stefan, The Elements of Cinema: Toward a Theory of Cinesthetic Impact (New York: Columbia University Press, 1982).
A concise and informative study of cinematic structure through the close analysis of several significant film scenes.
Shivas, Mark, ‘Minnelli’s Method’, Movie, 1 (1962), pp. 17–18.
Shivas examines how Vincente Minnelli’s films transcend their scripts via mise-en-scène.
Taylor, Greg, Artists in the Audience: Cults, Camp, and American Film Criticism (Princeton: Princeton University Press, 1999).
This book nicely complements Haberski’s book (described
above). Taylor offers a selective history of a number of post-Second World War North American film critics, especially Manny Farber and Parker Tyler, who creatively sanctioned popular movies as a contemporary art form. In Taylor’s
words, ‘Beginning in the 1940s, key vanguard critics pioneered new models of film appreciation, providing a vision of critic as creative artist, as opposed to distanced judge: now even seemingly unexceptional movies could be matched to highbrow aesthetic norms’ (p. 7). These vanguard critics, Taylor argues, were not interested in presenting their reviews as a consumers’
guide to the movies (reviews as advertising) but as a creative response to movies (film reviewing as writing).
Thompson, Kristin, Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Cambridge, Mass: Harvard University Press, 1999).
A detailed investigation into the narrative techniques used in contemporary Hollywood films. Thompson argues
214
that contemporary Hollywood films use similar narrative techniques found in the classical period of Hollywood (1920s to the 1950s) – techniques that continue to create clear, unified narratives. She then presents detailed analyses of ten contemporary Hollywood films, ranging between Alien, Back to the Future and The Hunt for Red October.
Thompson, Kristin and Bordwell, David, Film History: An Introduction, Second Edition (Boston: McGraw-Hill, 2003).
Thompson and Bordwell’s comprehensive history of world
cinema.
Truffaut, François, ‘A Certain Tendency of the French Cinema’
in Bill Nichols (ed.), Movies and Methods (Berkeley: University of California Press, 1976), pp. 224–37.
Truffaut’s celebrated and controversial attack on the French
‘tradition of quality’ and his promotion of the film director as auteur.
Truffaut, François, Hitchcock (New York: Simon and Schuster, 1967).
The most famous book on Alfred Hitchcock, based on more
than 50 hours of interviews between Truffaut and Hitchcock.
Vincendeau, Ginette (ed.), Encyclopedia of European Cinema (London: Cassell, 1995).
A comprehensive and informative reference book with a slight bias towards French cinema. The longer entries are particularly valuable.
Walker, Michael, Hitchcock’s Motifs (Amsterdam: Amsterdam University Press, 2005).
The author painstakingly enumerates the major themes and motifs that recur in Alfred Hitchcock’s films.
Wollen, Peter, Signs and Meaning in the Cinema, Second Edition (London: Secker and Warburg, 1972).
This is a key book in the history of film studies. Wollen was the first author to present a sophisticated theoretical exposition in
Bibliography 215
English of Sergei Eisenstein, film semiology, plus a structuralist version of auteur criticism.
Wood, Robin, Hitchcock’s Films (London: Zwemmer, 1965).
Wood’s celebrated auteurist study of Hitchcock, revised and updated several times since its first publication in 1965.
216
Index
A.I.: Artificial Intelligence 39
Coalface 156, 158–61
Aitken, ian 158, 160
colour, use of 13
Alice in the Cities 101, 105–6
colour film developing 13
Altman, Charles 2
compositional motivation 188,
American Cold War ideology 146–8
195
American culture, and Wenders
condensed plot synopsis 183–4
99–101
confession and guilt, in Hitchcock
analysis x-xi
films 97
approaches to cinema study 2–3
confined space shooting 96–7
Arnheim, Rudolf 22
contextual criticism xiv
artistic motivation 190
continuity editing 14–16, 24
associations 24
Corner, John 161
auteurism xiv, 22, 78–93, 111–12,
Crash 191
116, 120–1, 193
critics’ role 180
axis of action line 15
Curtiz, michael 85
The Battle of Algiers 192
dahl, John 139–44
Battleship Potemkin 24–5
Dead Men Don’t Wear Plaid 21
Bazin, André 22–3
deeley, michael 4
Before Sunrise 13
deep focus photography 8–14, 22
The Big Sleep 43, 44–5
description x
Bigelow, Kathryn 107–11
The Desire to Desire 134
The Birds 16
diegetic sound 20
Blade Runner 4
directional continuity 15–16
Blonde Venus 126–30, 134
director’s role 83
Blue Velvet 38
documentary types 154–76
Bordwell, david 15, 162
Double Indemnity 41
A Bout de Souffle/Breathless 87–93
douchet, Jean 94
Bowling for Columbine 168
editing
Cahiers du Cinéma journal 80–5, 93
continuity editing 14–16, 24
camera angles 22
Hitchcock 95
Casablanca 85
in Jurassic Park 19
Caughie, John 91–2
versus long take 17–18
cause-effect logic 34–6, 37, 41,
eisenstein, Sergei 7, 22, 23,
109, 126
24–5
Cavell, Stanley 22, 12
5, 130
The English Patient 184–8, 189
censorship 126, 129, 130–1
ethics in documentaries 165
Citizen Kane 8–10, 12
european Art Cinema 99, 104
Index 217
Event Horizon 193
genre
exposition 62, 72
approaches 120–1
expository documentary 156–61
fallen woman films 126–30
eyeline match 15–16
films as myth 122–4
hybrid genres 122
fallen woman films 126–30
melodrama 124–36
fast motion 22
paranoid woman’s films 134–6
female directors 107–8
German expressionism 95
feminist films 110–11
Gilda 64–5
femme fatales 137, 138, 140, 145
Godard, Jean-luc 87–93
film advertising 181–2
Gone With the Wind 6
film aesthetics, theoretical analysis
Grant, Barry Keith 123
of 21–7
Film Comment journal 167
Handke, Peter 100
film criticism 181–2
High School 162–3
film journalism 181–2
Hitchcock, Alfred 17–18, 20–1, 26,
film noir 41, 137–44, 189
33–4, 40, 42, 43, 93–9
see also neo-films noirs
hybrid genres 122
film review 180–97
abbreviated arguments about
image, and narrative 104
film 183, 187
interactive documentary 163–9
background information 183, 186
Interstellar 180, 181, 193–7
components of 183–8
intertextual motivation 189
condensed plot synopsis 183–4
Invasion of the Body Snatchers 146–8
The English Patient 184–8, 189
entertainment value 191–2
Jacobson, Harlan 167–8
evaluation 188–93
Jane Eyre 135
functions of 181–2
Jaws 11
Interstellar 193–7
journalism of opinion 181
motivation types 188–91
journalism of taste 181
redemption 192–3
Joy Ride 144
social value 192
Jurassic Park 19
film rhetoric 181–2
film sound 20–1
Kermode, mark 195–6
Film-eye principle 171
Khondji, darius 13
Film-truth principle 171
Kill Me Again 139–43
flashbacks 41
Kiss Me Deadly 144
formalists 22, 26
French New Wave 82, 84, 90–2
Lady in the Lake 50
French, Philip 168–9, 184–8, 189
The Last Seduction 142–3
leigh, mike 12
gangster films 5–6
Letter From an Unknown Woman 133
Gaslight 135–6
linklater, Richard 13
218
Little Caesar 5
narrative, and image 104
long takes 7–14, 22, 96–7
narrative chronology 55–9
Lost Highway 69, 122
narrative stages 37–8
The Lost World: Jurassic Park 12, 189
narrative structure 32–41, 112
The Loveless 108–10
narrative techniques, Hitchcock
lynch, david 38, 59, 69, 122
97–9
narrative turning points 37–8
mcCarthy, todd 194–5
neo-films noirs 139–44
macGuffins 40
New German Cinema 99, 100
The Magnificent Ambersons 8–10
Nichols, Bill 154–6
Magnificent Obsession 52–5
Nolan, Christopher 55
mainwaring, daniel 147
non-diegetic sound 21
male bonding 102–4
non-linear structure 55–8
male melodramas 125
North by Northwest 36–8, 47, 50–2,
male-female relationships 102–4
53
The Maltese Falcon 17, 176
Northern ireland in film 192
Man with a Movie Camera 170–1
Notorious 17–18
match on action cut 15–16
meaning through pattern 84
observational documentary 161–3
Meet Me in St Louis 6
omniscient narration 41–74
melodrama 124–36
Only Yesterday 130–4
Memento 55
metteur-en-scène 79, 85
paranoid woman’s film 134–6
Mildred Pierce 41
Paris, Texas 102–3
minnelli, Vincente 82, 85–6
perfect murder, in Hitchcock films
mise-en-scène 4, 10, 78–9, 82–3, 96,
97
104, 137
performative documentary 171–6
mise-en-shot 4, 7–19, 78–9, 82–3,
Perkins, Victor 83
84, 96, 104, 137
point-of-view cutting 15–16
montage 22, 23–7, 95
point-of-view shots 48, 50, 61, 95–6
moore, michael 165–8
Psycho 20–1, 26, 33–4, 39–40, 42, 94
Movie magazine 84–6, 95
The Public Enemy 5
Mulholland Dr. 32, 40, 41, 59–74
Pulp Fiction 32, 41, 55–9
narration
Quote Whores 181
The Big Sleep 44–5
Magnificent Obsession 52–5
Ray, Nicholas 85
Mulholland Dr. 59–74
Realism 189
North by Northwest 50–2
realistic motivation 189
omniscient 41–74
realists 26
Pulp Fiction 55–9
Rear Window 94
restricted 41–74
Rebecca 135–6
Taxi Driver 45–50
Red Rock West 141–2
Index 219
reflexive documentary 169–71
Them! 145
repetition of events 60
The Thin Blue Line 172–6
restricted narration 41–74
thompson, Kristin 162
road movies, Wenders 101–2
The Times of Harvey Milk 155
Roger and Me 165–8
todorov, tzvetan 37–8
Rope 96
truffaut, François 43, 80–4, 193
Rounders 143
The Two Mrs Carrolls 135, 136
Salt, Barry 7–9, 18
unknown woman melodrama
Sarris, Andrew 86–7, 95
130–4
Schindler’s List 19
Until the End of the World 101–2,
science fiction (1950s) 144–8
104
Scott, Ridley 4
script quality 81
Vertov, dziga 92–3, 170–1
Secrets and Lies 12
Vincendeau, Ginette 80, 87
set design 4–6
mGm 6
Welles, Orson 8–10
Warner Bros. (1930s) 5–6
Wenders, Wim 99–106
Siegel, don 147
When Worlds Collide 145
significant form x, xiii
Where No Vultures Fly 23
slow motion 22
Wings of Desire 103, 105
Spielberg, Steven 11–12, 19, 39
Wiseman, Frederick 162–3
storyboards 19
The Wizard of Oz 6
suspense, in Hitchcock films 97
Wood, Robin 95
Written on the Wind 125
Tarnishe
d Angels 125
wrong man, in Hitchcock films 97
Taxi Driver 45–50
technical constraints 96
Zacharek, Stephanie 196–7
220
Notes
Notes 221
Document Outline
Cover
Book title
Contents
Acknowledgements
Introduction
1 Film aesthetics: formalism and realism Mise-en-scène
Set design
Mise-en-shot
Film sound
Theoretical analysis of film aesthetics
2 Film structure: narrative and narration Narrative structure
Restricted and omniscient narration
3 Film authorship: the director as auteur The origin of the auteur policy
Style and themes in Alfred Hitchcock’s films
The cinema of Wim Wenders
The cinema of Kathryn Bigelow
The contemporary auteur
4 Film genres: defining the typical film Problems in the study of genres
Genre film as myth
New studies of melodrama
Film noir
1950s science fiction
5 The non-fiction film: five types of documentary Expository documentary
Observational documentary
Interactive documentary
Reflexive documentary
Performative documentary
6 The reception of film: the art and profession of film reviewing The four functions of film reviewing
The four components of film reviewing
Evaluation
Three reviews of Interstellar
Taking it further Film studies on the internet
Bibliography
Index A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
Z
Film Studies- An Introduction Page 25
