Ebook Film Art An introduction (8th edition) Part 1

DAVID BORDWELL

KRISTIN THOMPS$N


with a language and an aesthetic all its own. Since 1979, Film Art by David Bordwell and
Kristin Thompson has been the best-selling and widely respected introduction to the study
of cinema. Using a skills-centered approach, the authors strive to help students develop a
core set of analytical tools that will deepen their understanding of any film, in any genre.
Film Art is generously illustrated with frame enlargements that enable students to view
images taken directly from the completed films.
Building on these strengths, the eighth edition has been revised to be even more classroom friendly by introducing film techniques earlier in the text, followed by the chapters
on different genres in film.
Stressing complete films instead of techniques in isolation, Chapters 2 and 3 introduce
the idea of film form, and Chapters 4-8 explain individual techniques and how they
contribute to the aesthetic film experience.

The Where to Go from Here section at the end of most chapters raises issues
and provokes discussion. lt also functions as a bibliographic source for chapterspecific issues and provides simple exercises to help students better comprehend
film techniques.
Supporting the text, the accompanying tutorial CD-ROM helps clarify and reinforce
specific concepts addressed in the text through the use of film clips (1-2 per chapter),
a corresponding commentary for each film clip, and a quiz for students to test their
understanding of the material. This CD-ROM is packaged FREE with all new copies of
the eighth edition of Film Art.

More Resources Online
Visit the Online Learning Center at www.mhhe.com/filmartS for further resources for
students and instructors. Students will find quizzes, chapter outlines and objectives,
lnternet exercises, discussion questions, and weblinks. Students and instructors will
also find information about the authors's new blog. The authors's blog will be updated

frequently and will feature film reviews, film festival reports, interviews, and ongoing
discussions of varied film topics.

lsBN

978-0-07-353506-7

MHID 0-07-353506-0
Part ol

lsBN

978-0-07-331027-5

MHID 0-07-331027-1

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FILM ART
AN INTRODUCTION
EIGHTH EDITION

David

Bordwell Kristin Thompson
U niuersity of Wisconsin

Boston Burr Ridge, lL Dubuque, lA Madison, Wl New York San Francisco St. Louis
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ffi r,nnrr Education
Film Art: An Introduction
Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 122 I Avenue of the Americas, New York, NY 10020. Copyright
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This book is printed on acid-free paper.

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ISBN: 978-0-07 -353506-'7

MHID: 0-07-353506-0
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Credits: The credits section for this book begins on page 482 and is considered an extension of the copyright page.

Library of Congress Cataloging-in-Publication Data
Bordwell, David.
Film art : an introduction / David Bordwell, Kristin Thompson.-8th ed.

p.

cm.

Includes index.
ISBN-13: 978-0-07-353506-7 (pbk. : alk. paper)
ISBN-10:0-07-353506-0 (pbk. : alk. paper)
1. Motion pictures-Aesthetics. I. Thompson, Kristin,

PN1995.8617 2008
791.43014c21

1950- II. Title.
92006046880

The Internet addresses listed in the text were accurate at the time of publication. The inclusion of a website does not indicate an endorsement
by the authors or McGraw-Hill, and McGraw-Hill does not guarantee the accuracy of the information presented at these sites.

www.mhhe.com


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ABOUT THE AUTHORS

David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate in filnr
fl'om the University of lowa. His books include Tlte Films ofCerrl-Thetxlor Dreyer
(University of Califbrnia Press, l98l), Narrutiott in the Fictiort Fihr (University of
Wisconsin Press, 1985), O:t oncl tlte Poetics ofCirrenru (Princeton University
Press, 1988), Making Meuning: Infbrence urul Rltetorit' in the Interytretutiort of Cinemu (Harvard University Press, 1989), The Cinemo ol Eisertstein (Harvard University Press, 1993), On the Historl'ofFilm Srr'/e (Harvard University Press. 1997),
and Planet Hong Kong: Poltular Cinenru uncl tlte Art rf Eutertaittrnent (Harvard

University Press, 2000), Figures Trucecl in Light: On Cinentutic Stctgitrg (University of Califbrnia Press, 2005). and The Wat' Hollyu,ootl Tells It: Story untl Style irt
Moclern Movies (University of Califbrnia Press, 2006). He hers won a University
Distinguished Teaching Award and was awarded an honorary degrec by the Univelsity ol' Copenhagen.

Kristin Thompson is an Honorary Fellow at the University o1'Wisconsin-Madison.
She holds a master's degree in fihn from the University of lowa and a doctorate in
film fronr the University of Wisconsin-Madison. She has pLrblished Eisenstein's
Iwtrt the Terrible: A Neofbrmulist Anull,sis (Princeton University Press, 198 I ), Erporting Erttertqinnrent: Americct in the Wtrltl Film Murket 1907-1934 (British Film
Institute, 1985). Breuking the Gluss Arntor: Neofonnulist Filnt Anul ,-si.s (Princeton
University Press, 1988). Wxtster Prcposes, Jeeves Disytses, or Le Mot Juste
(James H. Heineman, 1992), Storttelling in the Ne,,r' Hollywrncl: Urttlerstuntling
Clctssicttl Nurrutive Tec'hrtique (Harvard University Press, 1999), Story-telling in
Film anrl Televisiort (Harvard University Press, 2003), Herr Lubitsch Goes To Hollywoocl: Gennon uncl Anrcriccut Film cfter Wtrltl Wrrr 1 (Arrrsterdarn University
Press,2005),andThe Fntclo Frcnt'ltise: The Lorcl oftlte Rings ttntl Moclent Hollywood (University of Califbrnia Press, forthcoming 2001). In her spare time she
studies Egyptology.

The authors have also collaborated on Filnt Hi.story: An Intntcluctrorr (McGrawHill, 2nd. ed., 2003) and, with Janet Staiger, on The Clussit'ul Hollyy1,111s71 Cirtema:

Film Style untl Mode of Procluction to 1960 (ColLrmbia University Press, 1985).



BRIEF CONTENTS
Preface xv

1

Film

2

The Significance of Film Form

3

Narrative

4
5
6
7
8

The Shot: Mise-en-Scene

as

Art: Creativity, Technology, and Business

as a

Formal System

54
74

tt2

The Shot: Cinematography

rc2

The Relation of Shot to Shot: Editing
Sound in the

Cinema

218

264

Summary: Style as a Formal

9 Fihn Genres

Systern

304

318

10 Documentary, Experimental, and Animated

11

Film Criticism: Sample Analyses

Appendix

2

Films

338

384

431

n Fih Art and Film History

440

Recommended DVD Supplements 476

Glossary

477

Credits 482
lndex 483

tx



\

CO NTENTS

Preface xvii

CHAPTER

1

Film

as
of a Doubt 3

Art: Creativity, Technology, and Business

Film Artistry in Shadow
Box: ,:, r 1.t",15.!-F ;.tlr?it,: Picking out Patterns 8
Mechanics of the Movies 10
Illusion Machines 10
Making the Movie: Film Production l4

The Scliptwriting and Funding Phase l5
The Preparation Phase 16
The Shooting Phase I7
The Assembly Phase 21

; :

:'...:r,-',ijk: SomeTermsand Roles in Film
Artistic lmplications of the Production Process 25
Modes of Production 25

Box:

.1

r

Production

Large-ScaleProduction 25
Exploitation and Independent Production 26

Small-ScaleProduction 28
Artistic Implications of Different Modes of Production 29
Box: lr l::,(:t5aa,'. i-'"]OK: Convergences: Film and Video 30
Bringing the Film to the Audience: Distribution and Exhibition

34

Distribution: The Center of Power 34

Exhibition: Theatrical and Nontheatrical 39
Box.' Movies on Screen: A 2004 Profile of Theatrical Exhibition
Artistic Implications of Distribution and Exhibition 42

Summary

47

Where to Go f'rom

Websites

Here

47

50

Recommended

DVDs

50

Recommended DVD Supplements 50

4I

22

2


CONTENTS

x11

CHAPTER

2

The Significance of Film Form
Film

The Concept of Form in

54

54

Form as System 54

"Form" Versus "Content" 56
Folmal Expectations 56
Conventions and Experience 58
Form and Feeling 59
Form and Meaning 60

Evaluation 63

Principles of Film Form 65
Function 65
Similarity and Repetition 66
DifTerence and Variation 67
Development 68
Unity and Disunity
Summary 7I

Where to Go from

Websites

70

Here

72

73

Recommended DVD Supplements

C H A PT E R

3

73

Narrative as a Formal System

Principles of Nanative Construction

74

Story 76
Cause and Effect 77
Time 80
Plot and

Space

82

{L$SER LSOK: Ptaying Games with Story Time 8J
Openings, Closings, and Patterns of Development 86
Narration: The Flow of Story Information 88
Range of Story Information 88
Depth of Story Information 90

Box:

lr.

The Narrator 92
Summing Up Narration 93

The Classical Hollywood Cinema 94
Narrative Form in Citizen Kane 96
Overall Narrative Expectations in Citiz.en Kane 96
Plot and Story in Citizen Kane 97

Citiz.en Kane's Causality 99
Time in Citizen Kane 99
Motivation in Citizen Kute 102
Citiz,en Kane's Parallelism 103
Patterns of Plot Development in Citizen Kane 103
Narration in Citiz,en

Summary

Where to Go from

Websites

Kane

104

107

Here

107

109

Recommended DVD Supplements 109

74

CONTENTS

CHAPTER 4 The Shot: Mise-en-Scene
What Is Mise-en-Scene?

1t2

Aspects of Mise-en-Scene

Setting

n2

115

I 15

n9

Costume and Makeup

Lighting

124

Staging: Movement and Performance 132

Box: A CLOSER LOOK: The Film Actor's Toolkit 134
Putting It All Together: Mise-en-Scene in Space and Time

Space

Time

149

Narrative Functions of Mise-en-Scene in Our Hospitality

Summary

153

i,58

Where to Go from

Websites

t40

142

Here

158

160

Recommended DVD Supplements 160

C H A PT E R
The Photographic

5

The Shot: Cinematography

Image

162

The Range of Tonalities 162
Speed of

Motion

166

Perspective 168
Box: A CLOSER LOOK: From Monsters to the Mundane:
Computer-Generated lmagery inThe Lord of the Rings 179

Framing

182

Frame Dimensions and

Shape

183

Box: A CLOSER LOOK: Common Aspect Ratios of 35mm
Onscreen and Offscreen

Space 187

Angle, Level, Height, and Distance of
The Mobile Frame 194

Framing

Duration of the Image: The Long Take 207
Functions ofthe Long Take 208
The Long Take and the Mobile

Summary

Where to Go from

Websites

Frame

214

Here

214

216

Recommended DVD Supplements 216

210

190

Film

184

t62

xtll


xlv

CONTENTS

CHAPTER 6 The Relation of Shot to Shot:

Editing

218

What Is Editing? 218
Dimensions of Film Editing 220
Graphic Relations Between Shot A and Shot B 221

Rhythmic Relations Between Shot A and Shot B 226
Spatial Relations Between Shot A and Shot B 227
Temporal Relations Between Shot A and Shot B 229

ContinuityEditing 2,tl
Spatial Continuity: The 180" System 23 I
Continnity Editing inTlrc Maltese Falc'on 2-14
Continuity Editing: Some Fine Points 2-18
More Refinements: Crossing the Axis of Action 242

Crosscutting 244
Ten-rporal Editing: Order, Frequency. and

Bo.r: ',,.

; ,..irll:,:.

Duration 245

r-,'.i.l;r{ lntensified Continuity: L.A. Confidentiol and Contemporary

Alternatives to Continuity Editing 25 I
Graphic and Rhythmic Possibilities 251
Spatial and Temporal Discontinuity 252
Functions of DiscontinLrity Editing: October 257

Summary

260

Where to Go from

Websites

Here

261

263

Recomrnended DVD Supplements 263

7 SoundintheCinema 264

CHAPTER
The Powers of

Sound 265
Sound

Fundamentals of Film

267

Properties 267
Selection, Alteration, and Combination
Dimensions of Film Sound 275
Perceptual

Rhythm

268

275

Fidelity 278
Space 278
Bo.r: . ' ' i i'.i,i, i.,r:ii-:'i: Offscreen Sound and Optical Point of View:
The Money Exchange in Jackie

Time

Brown

280

287

Functions of Film Sound: A Mon Escapecl 29-l
Fontaine's Commentary 29-l
Sound Efl'ects and
Sound

Motif.s

Music

Narration 294

295

296

A Sample Sequence 296

Summary

300

Where to Go from

Websites

Here

301

-10-l

Recommended DVD Supplements 303

Editing

246


CONTENTS

8

C H A PT E R
The Concept of Style

Summary: Style as a Formal System

304

Style and the Filmmaker 304
Style and the Viewer 305

Analyzing Film Style 306
Step l: Determine the Organization Structure
Step 2: Identify the Salient Techniques

306

Used

306
Step 3: Trace Out Patterns ofTechniques 307
Step 4: Propose Functions for the Salient Techniques and the Patterns They

Kane

Style in Citizen

Summary

Form

308

309

316

Where to Go from

Here

316

Recommended DVD Supplements 316

CHAPTER
Understanding

9 FilmGenres

Genre

3tB

318

Defining a Genre 318
Analyzing a Genre 320
Cenre

Box:

tu'l.

History

i i rlit;:,r

321

i..':.it*al{:

A Contemporary Genre: The Crime

Thriller

322

The Social Functions of Genres 326
Three Genres 328
The Western 328
The Hon'or Film 329
The Musical 332

Summary

336

Where to Go from

Websites

Here

336

337

Recommended DVD Supplements 337

CHAPTER

1O

Documentary, Experimental, and Animated Films

Documentary JJ8
What Is a Documentary'l JJ8
Documentary 340
The Boundaries Between Documentary and
Types of Form in Documentary Films 342
Categorical Form 343
Rhetorical Form 348
Types of

Experimental

Film

Fiction

341

.155

Types of Folm in Experimental

Films

-156

Abstract Form 356
Associational Form 36-l

The Animated Film 370
An Example of Narrative Animation: Duck Amuck 373
An Example of Experimental Animation: Frrli 375

Summary

378

Where to Go from

Websites

Here

378

380

Recommended DVD Supplements

381

338


CONTENTS

C H A PT E R 1

1

Film Criticism: Critical Analyses

384

The Classical Narrative Cinema 385
His Girl Friday J85
North by Nortltwest -188
Do Tlte Right Tlting 392

Narrative Alternatives to Classical Filmmaking 397
Breathless (A Bout de Souffie) 397
Tolcyo Story (Tblcyo Monogatari) 401
Cltungking Express (Cltmg Hing sam lam) 405

Documentary Form and

Style

410

Man witlt a Movie Canrcra (Cltelovek s kinoapparatom) 410

Line 413
Ideology 419
Me in St. Louis 419

Tlrc Thin Blue

Form, Style, and
Meet

Raging

Bull

426

APPEN D lX \Triting a Critical Analysis of a Film
Preparing to

Write 431

Step 1: Develop a Thesis That Your Essay Will Explain and Support 43I
Step 2: Dlaw Up a Segmentation of the Entire Film 431
Step 3: Note Outstanding Instances ofFilm Technique 432

Organizing and

Summary

Writing

433

434

Sample Essay: Fantasy and Reality in The King of Comedy 435
Where to Go from Here 437
Sample-Analysis Films on DVD 438

CH

APTER

LZ

Film Art and Film

History

Early Cinema (1893-1903) 441
The Development of the Classical Hollywood Cinema (1908-1927) 444
German Expressionism (1919-1926) 447
French Impressionism and Sunealism (1918-1930) 450
Impressionism 450

Sunealism

452

Soviet Montaee (1924-1930) 453
The Classical Hollywood Cinema After the Coming of Sound 456
Italian Neorealism (1942-1951) 459
The French New Wave (1959-1964) 461
The New Hollywood and Independent Filmmaking 463
Contemporary Hong Kong Cinema 468
Where to Go from Here 472
Recommended

DVDs

474

Recommended DVD Supplements 476
Glossary 477
Credits 482

lndex

483

440

431

PREFACE

in 1971, when film had just
of study in colleges and universities. There
were a few introductory film textbooks available, but they seemed to
us oversimplified and lacking a clear sense of organization. After studying film
since the 1960s and after teaching an introductory course at the University of
e started to write Film Art: An Introcluctiort

become a regular sr-rbject

Wisconsin-Madison, we tried to pull together what we'd learned.
We had two purposes. First, we wanted to describe the basic techniques of cinema-mise-en-scene, cinematography, editing, and sound-clearly and thoroughly.
Beyond that, we wanted to do something that earlier books hadn't tried to do. We
wanted to show students how to understand the overall form, or structure, of a film.
The goal was to analyze whole films, not just isolated scenes. We wanted to show
how the separate techniques of the film medium functioned in the film's larger
context.

To achieve these aims, we tried to go beyond sLlmmanzing what critics and
theorists before Lls had said. Of cor"rrse we couldn't neglect important thinkers. But
the more we studied films, the more we reahzed that there were many crucial aspects of film that had long gone unnoticed. We had to do more than synthesize; we
had to innovate.
Sometimes the survey books that appear early in the history of a discipline produce original work, and Film Art wound up doing that. For instance, we found that

film editing harbored a range of possibilities that had never been systematically
presented. Similarly, no one had tried to survey the various sorts of overall form
that a film can r"rtilize. At almost every turn, we tried to fill gaps in understanding
and come up with fresh insights into the creative choices that filmmakers had made.
In the thirty years since we began the project, Film Art has undergone several

revisions. We've adjusted it to the needs of the educators who have for-rnd it useful,
and we've tried to accommodate changes in the ways in which films are made and
seen. When the first edition came out in 1979, Betamax videotape was just emerging as a consumel item. Today, people are watching films on their iPods. Throughout all these changes, though, the art of cinema hasn't fundamentally changed.
Internet and digital films use the same basic techniques and formal strategies that
filmmakers have always employed. Likewise, the goal of Film Art has remained the
same: to introduce the reader to the fundamental features of cinema as an art form.
We envision readers of three sorts. First is the interested general reader who
likes movies and wants to know more about them. Second is the student in an introductory fihn course, for whom Film Art functions as a textbook. Third is the
lnore advanced student of film, who can find here a convenient outline on film aesthetics and suggestions for more spec rahzed work.
Since Film Art first appeared, a number of other introductory texts have been
published. We believe that our book still offers the most comprehensive and systematic layout of the art of film. It also offers discussions of creative possibilities
that aren't considered elsewhere. It's gratifying to us that scholarly works on cinema often cite Film Art as an authoritative and original source on film aesthetics.

Organlzation of FiLm Art
One way to organtze a book like this would be to survey all contemporary approaches to film studies, and there's no shortage of books following that approach.
XVlI


XVIIl

PREFACE

But we believe that the student wants to know the core features of the film medium
before he or she is introduced to different academic approaches. So Filnt Art pioneered an approach that leads the reader in logical steps through the techniques ernd
structures that make up the whole film.
Moviegoers become absorbed by films as complete experiences, not fragments.
The approach we've chosen emphasizes the film as a whole-made in particular
ways, displaying overall coherence, using concrete techniques of expression, and
existing in history. Our approach breaks down into a series of questions.

How does a film get from the planning stages to the screen? To understand
film as an art, it helps to know how people create a film and get it to audiences. This
question leads to a study in Part One, "Film Art and Filmmaking," of film production, distribution, and exhibition. We can then see how these activities shape the final product. Decisions at every stage affect what we seen and hear on the screen.

How does an entire film function? We assume that like all artworks, a film has
a .fornt It's made Llp of parts that relate to one another in specific and deliberate
wAys, in order to have an effect on an audience. In Part Two, "Film Form," we examine the idea of film form and how it affects us. We also introduce the most familiar type of form, the narrative.

How do film techniques contribute to film form? Film is a distinct mediLur,
and every film integrates various techniques into its overall form. In Part Three,
"Film Style," we examine the artistic possibilities of the primary film techniques:
mise-en-scene, cinematography, editing, and sound. A chapter is devoted to each
one, and each chapter ends with an analysis of how these techniques contribute to
a film's overall form.

How do we classify films? We seldom go to the movies without having

some

idea of the kind of film we'll be seeing. Part Four, "Types of Films," examines two
principal ways of grouping films. One way is by genre. When we label a film a
science-fiction movie, a horror film, or a musical, we're using genre categories. We
also usually classify films by some conception of the film's relation to reality or to
its manner of production. So, besides live-action fiction films, we recogni ze cloc'umentaries, onimated films, and experimental films. These types also exemplifi nonnarrative approaches to overall form.
an alyze a film critically? Once we have some conception of the
possibilities of the mediuffi, we can go on to analyze specific films. We try to show
techniques of analysis by studying several important films in Part Five, "Critical
Analysis of Films."

How may we

How does film art change through history? We conclude olrr book by sLrggesting how formal aspects of film have changed in historical contexts. In Part Six,
"Film Art and Film History," we sLrrvey some noteworthy periods and movements in
film history to show how understanding form helps us define films's larger context.


F

Our Approach: Analyzing the \Uhole Film
Our holistic approach to film resulted from several years of teaching. We wanted
students to see and hear more in the films we studied. but simply providing the lecturer's view wouldn't help students understernd cinema on their own. Ideally, we decided, students should master a tool kit of principles that would help them exarmine
films. We became convinced that the best way to introduce film's artistic potential
is to highlight general principles of form and style and to show those principles at
work in particular movies. That is, we emphasized skills. By studying basic concepts of technique and form, students can sharpen their appreciation of any film that
comes their way.

The stress on skills has another consequence. We refer to a great many films,
largely to show the range and variety of cinema. But we know that most readers
won't have seen, or even heard of, all of them. Because Film Art stresses the importance of conceptual skills, readers don't have to have seen the films we mention
in order to grasp the general principles. Many other films could be used to make

similar points.
For example, many possibilities of camera movement could be illustrated as
easily with Lu Roncle or Elephant as with Grand lllusion. To exemplify classical
Hollywood filmmaking, My Darling Clementine could serve as well as North by
Nortltwest. Althor-rgh a course syllabus could adhere closely to the series of major
examples used in Film Art, teachers rnight decide to use a wholly different set of
films. Our book rests not on titles br"rt on concepts.
That sarid, we do believe that an introduction to any art should balance familiar
examples with unfamiliar ones. If we want to suggest the range of creative possibilities in cinema, we can't limit ourselves just to recent Hollywood releases. One

of an educator's tasks is to broaden the horizons and tastes of students, to take them
beyond what they're accustomed to. Films are powerful and can change the ways
we think and feel, and we benefit from opening ourselves up to them as widely as
possible. So we haven't hesitated to mention films that lie off the beaten track, coming from the silent era, from other countries, and from experimental traditions.
Many of these films have changed oLrr own lives, and maybe they can change others' lives as well.

Features of FiLm

Art

Frame Enlargements and e"ptions
A book on film must be heavily illustrated, and most are. Many film books, however, use production stills-photographs taken during filming. These are shot with
a still camera, almost never placed in the same position as the motion picture camerel. The resLrlt is a picture that doesn't correspond to any image in the finished film.
Nearly all of our images from films are frame enlargements-magnified photographs taken from images on l6mm and 35mm film copies. Film Art contains more
illustrations than any other book in the market, and new to the last edition, all stills
from color films appear in full color. (For more on frame enlargements, see the
"Where to Go from Here" section in Chapter l.)

eatures o/

Film Art

XlX


PREFACE

"'Where to Go from Here" Sections
In the first edition of Film Art, we thought it was important to include a section at
the end of each chapter that would steer readers to other sources, but without the

simple listing of ordinary bibliographies. So our chapter supplements, now called
"Where to Go from Here," raise issues, provoke discussion, and suggest further
reading and viewing. They also indicate Internet sites and DVD supplements that
illustrate or develop ideas in the chapter.

472

CHAPTER l2

Fihn Arr antlFilm History

Classical Hollywood Cinema (1908-1927)
Balio. Tino. ecl Tlrc Ameri<'utt Filn lndustn: rev ed
Madison: University olWisconsin Press. 1985
Bordwell. David. Janet Staiger. and Kristin Thonrpson l/rc
Clussital Hollyv'ood Citrcnru: Film Sryle uncl Mode,o.f
Pntductiott to 1960 NewYork: Colurnbia University Press.
I 985.
Bowser. Eileen. The Trans.fbrntatiotr ol Cinenru, 1907-1915
New York: Scribner. 1990
Brownlow. Kevin. The Pqrude's Gone B.r: New York: Knopf.
r 968
DeBauche. Leslie Midkiff Reel Putriotism: The Mot'ie ,; ctttd

WorlclWtr /. Madison: University of Wisconsin
199'l
Gonrery. Douglas Slrurccl Pleasures:

A Histort

o.f

Press.

Anericurt

Moviegoing Madison: Universitv of Wisconsin Press.
1992.
Hampton. Benjanrin B Histort of the Antericun Filnr
Ittclustrv. l93l Reprinted. NewYork: Dover. 1970
Keil. Clrarlie Eurly Anteritutt Cittenru in Trqnsitittn.' S/or r',
Sryle, qncl Filunruking,, 1907-1918 Madison: Universitv of
Wisconsin Press.200l.
Keil. Charlie. and Shelley Starnp. eds. Anrericurt Cittenru',;
Truttsiliotrul Era: Aucliettces, Ittstitutiott,s, Pretttices
Berkeley: University of Calitbrnia Press. 200.1
Koszarski. Richard. Att Et'cttittg's Entertuitttnent: The Age o.f
tlrc Silent Feuturc Picture, 1915-1928 New Ycrrk:
Scribner.1990
lanel Interltrctittg Filns: Studies itt the Histoticul
Reteptiott o.f Anrcriccttt Citrcmq Princeton. NJ: Princeton
University Press. 1992
Vasey. Ruth l/re World According to Hollvwood, 1928-1939
Madison: University of Wisconsin Press. 1997
Staiger,

German Expressionism
Barlow. John D Gennun Espressictttisl Filrrr Boston: Twayne.
I 982.
Budd, Mike, ed Tlrc Cabittet oJ Dl. Culigqri: Te.rts, Cutte.rls,

Histories New Brunswick. NJ:

Rut_eers

University

Press.

r 990.
Eisner. Lolte Tlrc Hauntad Scrcen Berkeley: University
California Press. 1969
Frit: kutg New York: Oxtbrd University Press.
t977

E

W.

ol

Muntcur Berkeley: University of California

Press. 1983
Kracauer. Siegfried Frcm Culiguri to Hitler. Princeton. NJ:
Princeton University Press. 1947


Neq, to the Eighth Edition

XXl

"A Closer Look" Boxes
These boxes relate ideas in the main text to issues in current filmmaking. For
example, computer-generated imagery (CGI) is addressed in a discussion of The
Lorcl of the Rings.

FROM MONSTERS TO THE MUNDANE:
Computer-Generated Imagery

in The Lord of the Rings

The films adapted from J R. R. Tolkiens
trilogy The Lord of the Rings (The Fellowship of the Ring, The Two Towers,
and The Return of the King) show how
CGI can be used for impressive special
effects: huge battle scenes, plausible
monsters, and magica[ events Less obviously, the films atso indicate how,
more and more, CGI shapes many aspects of production, from the spectacular to the mundane
The director, Peter Jackson, started
his career in horror and fantasy films in

required in each case to make them
appear real or to allow camera movements through them Computer paint
protrams coutd generate matte paintings (often based on location stit[ photographs) for the sky, clouds, distant
cliffs, and forests that appeared behind

New Zeatand, where he and his partners
Jamie Selkirk and Richard Taylor formed
.l993

a CGI firm, Weta Digital, in
Most of
the digital work for Rlngs was done at
the Weta facility, although the film in-

volved so much CGI that a few sequences were commissioned from
other effects firms
CGI was used at every state of production ln preproduction, a sort of ani-

mated storyboard (a previz, for
"previsualization") was made, consist-

the miniatures
Rings also drew on the rapidty developing capacity of CGI to create characters The war scenes were stated with a
small number of actual actors in costumes, while vast crowds of CGI so[diers appeared in motion alongside

them Like many companies working on
digitalty sophisticated films, the Weta
team had to develop its own proprietary software programs A crucial protram was Massive (for "Muttiple Agent
Simulation System in Virtual Environment") Using motion capture on a few
ogents (costumed actors), the team
could build a number of different mititary maneuvers, assigning alI of them to
the thousands of crude, digitalty gener-

"lf you wander unbidden onto a set,

Marginal Qr-rotes

you'il always know the AD because

Throughout the book, quotes from allthors, screenwriters, producers, directors, cinematographers, and actors appear in the margin. Whether amusing or insightful, informative or opinionated, these marginal quotes seek to engage students from a
filmmaker's point of view.

he or she is the one who'll probably
throw you off. That's the AD yelling,
'P[aces!' 'Quiet on the set!' 'Lunchone-half hour!' and 'That's a wrap,

Glossary/
Like all art forms, film has speciahzed terminology, and so we've included a glossary. The initial mention of a term in the text is signaled in boldface, which indicates that the glossary provides further information.

New to the Eighth Edition
Reorganized Parts
Parts Three and Four from the previous edition have been switched. The "Types of
Films" chapters on genre and on documentary, experimental, and animated films
now follow the four chapters on film techniques. This change aligns the book's sequence of chapters with how many instructors tell us they use the book. The advantage of this change is that the film techniques (which many users regard as
central to their coltrses) come earlier. It also means that the analyses of documentary, experimental, and animated films are now continuous texts rather than being
split between two chapters.

people!' lt's ail very ritualistic, like
reveille and taps on a military base,
at once grating and oddly
comforting."

-

Christine Vachon, independent producer, on
assistant directors


XXlT

PREFACE

A New Lead-ln Section in Chapter

1

This section discusses the issue of film as an art form before launching into the
technology and institutions behind filmmaking. Hitchcock's classic film Shadow of
a Doubt rs showcased as the opening example.

Revised "'Where to Go from Here" Sections
Appearing at the end of each chapter, these sections raise issues that provoke class
discussions. They also suggest further reading for research, acting as a bibliographic source for specific issues in the chapter.

David Bordwell and Kristin Thompson's Blog at
www. dav idbordwe 11. ne t
David and Kristin will share their ideas and experiences with teachers and students
on their blog. Updated frequently, the blog features film and book reviews, reports
from festivals, and comments that connect ideas in Film Art to the current film
scene in an accessible format.
The McGraw-Hill Film Viewer's Guide (a booklet with important tips on film
viewing and analysis), which was published as a separate pamphlet for a few editions, is now being reincorporated into the text as an introduction to the "sample
Analyses" chapter.

S.rpplementary Instructional Materials
For the Student
A text-specific tutorial CD-ROM will help clarify and reinforce specific concepts
addressed in the text with the use of film clips (l-2 per chapter), a corresponding
commentary for each film clip, and a quiz for students to take to test their understanding of the materials. This CD-ROM is packaged free with all new copies of

Film Art, Eighth Edition.
The student website to accompany Film Art is www.mhhe.com/filmart8. Students will find numerous opportunities here to reinforce what they've learned from
the text, as well as extend their knowledge. Sample Multiple Choice Quizzes, Essay Questions, Internet Exercises, and links tied to each chapter are included.

For the Instructor
All instructor resources can be found at www.mhhe.com/filmart8. For lecture
preparations, the Instructor's Manual contains chapter outlines, goals for the
chapter, and suggestions for guest lectures, case studies, bibliography, and suggestions for essay assignments and DVD supplements.
For qurzzes and tests, you can also find a Password Protected Test Bank
at the book website. This contains sample multiple choice, true/false, and essay
questrons.


Acknou,Iedgmcnts

Acknowledgments
Over the past 30 years, many people have aided Lls greatly in the writing and revision of this book. We are grateful to David Allen, Rick Altman, Tino Balio. Lucius
Barre, John Belton, Joe Beres, Ralph Berets, Les Blank, Vince Bohlinger, Eileen
Bowser, Edward Branigan, Martin Bresnick, Ben Brewster, Michael Budd, Peter
Bukalski., Elaine Burrows of the British Film Institute, Richard B. Byrne, Mary
Carbine, Jerome Carolfi, Corbin Carnell, Jerry Carlson, Kent Carroll, Noel Carroll,
Paolo Cherchi Usai of George Eastman House, Jeffrey Chowr, Gabrielle Claes and
the staff of the Cin6mathbque Royale de Belgique, Bruce Conner, Kelley Conway,,
Mary Corliss of the Museum of Modern Art Film Stills Department, Susan Dalton

of the American Film

Institute., Robert E. Davis, Ethan De Seife, Dorothy

Desmond, Marshall Deutelbaum, Kathleen Domenig, Suzanne Fedak of Wellspring

Media, Susan Felleman., Maxine Fleckner-Ducey of the Wisconsin Center for Film
and Theater Research, Don Fredericksen, Jon Gartenberg, Ernie Gehr, Kathe Geist,
Douglas Gornery, Claudia Gorbman, Ron Gottesman, Eric Gunneson, Debbie Han-

son, Howard Harper, Denise Hartsough, Kevin Heffernan, Paul Helford, Linda
Henzl, Rodney Hill., Richard Hincha, Jan-Christopher Horak of the Munich Film
Museum, Lea Jacobs, Bruce Jenkins, Kathryn Kalinak, Charlie Keil, Vance Kepley, Laura Kipnis, Barbara Klinger, Jim Kreul, Don Larsson, Jenny Lau, Thomas
M. Leitch, Gary London, Jose Lopez of New Yorker Films, Patrick Loughney of
the Library of Congress Motion Picture Division, Moya Luckett, Mike Maggiore
of the Walker Art Center, Charles Maland, Mark McClelland of Films Inc., Roger
L. Mayer of MGM [nc., Norman McLaren, Jackie Morris of the National Film
Archive, Charles Musser, Kazuto Ohira of Toho Films, David Popowski, Badia
Rahman, Paul Rayton, Leo Salzman, James Schamus of Focus Features, Rob Silbernran, Charles Silver of the Museum of Modern Art Film Study Center, John Simons, Ben Singer, Joseph Evans Slate, Harry W. Smith, Jeff Smith, Michael Snow,
Katerina Soukup, John C. Stubbs, Dan Talbot of New Yorker Films, Richard Terrill., Jim Udden, Edyth von Slyck, Beth Wintour, Chuck Wolfe, and Andrew Yonda.
In preparing this edition, we are grateful to many of the above, as well as to
Michael Barker of Sony Pictures Classics., Jake Black, Colin Burnett, Kristi
Gehring, Rocky Gersbach, Dorinda Hartman, Michele Hilmes, Derek Johnson,
Matt Rockwell, Ethan de Seife, Scott Sklenar, Katherine Spring, and Tona Williams. We also appreciate the suggestions for revision offered by Ernest R.
Acevedo-Mufioz (IJniversity of Colorado-Boulder), Robin Blaetz (Mount Holyoke
College), Gary Christenson (Elgin Community College), Anne Ciecko (University
of Massachusetts-Amherst), Donald Meckiffe (University of Wisconsin-Fox Vall.y), Hema Ramachandran (Southern Illinois University), Cynthia S. Runions (University of Memphis), Susan White (University of Ari zona), and James Yates
(Northwestern Oklahoma State University).
As ever, we're indebted to the McGraw-Hill publishing team, particularly Gina
Boedeker, Chris Freitag, Angela Kao, Melody Marcus, and Mel Valentin.

XXIIl