monaco textbook *
Quizzes Yahoo *
2009 : wwnorton.com/movies cine101.com
* 2007 textbook
Search The Internet Movie Database
Enter the name of a movie, TV show, or person and then click "Go" to get more information about it/them from imdb.com.(old) Textbook: How to read a Film, Jim Monaco
1. Film as Art
3. Film Language
Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." Janet Maslin of The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." And Richard Roud, Director of the New York Film Festival stated, "Anyone who writes about film, who is interested in film seriously, just has to have it." Clearly, few books on film have met with such critical acclaim as How to Read a Film. Since its original publication in 1977, this hugely popular book has become the definitive source on film and media. Now, James Monaco offers a completely revised and rewritten third edition that brings every major aspect of this dynamic medium right up to the present day. Looking at film from many vantage points, Monaco discusses the elements necessary to understand how a film conveys its meaning, and, more importantly, how the audience can best discern all that a film is attempting to communicate. He begins by setting movies in the context of the more traditional arts such as the novel, painting, photography, theater--even music--demonstrating that film as a narrative technique is directly comparable to these older mediums. He points out that much of what we see and experience in film can be traced directly back to other art forms. Accordingly, as film is a technology as well as an art, he examines the intriguing science of cinema and follows the development of the electronic media and its parallel growth with film during this century. A new chapter on multimedia brings media criticism into the late 1990s with a thorough discussion of such topics as virtual reality and cyberspace and their relationship to film. Monaco goes on to show how film operates as a language, describing the various techniques and concepts responsible for the often visceral reactions that only film can elicit.
Featured Pages: Film Directing
Cinema and Soviet Society : From the Revolution to the Death of Stalin (KINO - The Russian Cinema) * The story of Soviet film in the period covered by Peter Kenez is central to the history of world cinema. The author explores the roots of Soviet cinema in the film heritage of pre-Revolutionary Russia; the changes in content, style, technical means, and production capacities generated by the Revolution of 1917; the constraints on form and subject imposed from the 1930s in the name of Socialist Realism; the relative freedom of expression accorded to film-makers during World War Two; and the extraordinary repression during the final years of the Stalin era.
How to Read a Film
* the textbook page? How to use it. Should the "books" page in each directory be around the required reading, leaving the subject/topic pages in BOOKS directory for general listing?
"books" pages at filmplus.org :
SummaryOther books pages and books directories! Each subdirectory has "books" page!
Get yourself "How to Read a Film" by James Monaco and read everything ahead of class (Spring 2003)!
QuestionsHow to use the textbook? And what is the homework!
NotesTextbook and my related webpages.
With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can't possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this. Kurosawa
Films: The Passion of the Christ. "Protestantism is inherently non-visual." American Christianity: Christmas over Easter. Birth over Death?
Who does believe in Satan? Not us. "Sweet Juses"... (and -- In Islam, Jesus does not die on the cross because such a fate is considered unfitting for a prophet of Allah.)
... a nation of Bible readers, not just Bible owners?
* making movies
Film As Art by Rudolf Arnheim 0520000358 [classic]
Film & Theory
Film & Literature
biblio, references + film directing: support.txt 2006
Norton Reader FILM Analysis
Check the books directory @ Film-North and the Mining Film (books and links). I will continue to list the titles in biblio (I try to use Amazon links for recommended reading).There are many good film books -- and I try to keep the links in references or/and appendix + other service pages. Of course, I have no time to comment on them. Many are laying around open, because I have no time to finish reading them...
How to help them (students) to navigate the extra-reading, according to their personal interests? Directors, actors, English majors... "I am often asked why I don't pass on to young people what I have accomplished over the years. Actually, I would like very much to do so. Ninety-nine percent of those who worked as my assistant directors have now become directors in their own right. But I don't think any of them took the trouble to learn the most important things." Akira Kurosawa
[ see film books directory! ]
[ Mining Film directory, links ]
vTheatre: Stage, Film, Web
Film/Video Directing online
There are many great online texts, many I discovered not long ago -- since Google began its search in Russian. I place some texts and URLs, hopping that one day I will find the time to translate the segments. Turovsky on Tarkovsky -- http://kinocenter.rsuh.ru/tarkov.htm [ see film.vtheatre.net/ru.html>film.vtheatre.net/ru ]
"Ivan" -- "Движение картины все время идет через катастрофы. Тому, что мы привыкли называть "переживаниями", почти нет места. Убийство матери -- травма, его нельзя пережить слезами и горем. Война -- травма, к ней нельзя привыкнуть. Насилие над душевным миром человека тотально. Но именно из этой тотальности, из практической невозможности простого, человеческого рождается почти нестерпимая духовная потребность в идеальном. Из абсолютной дисгармонии -- мечта об абсолютной гармонии."The Major Film Theories: An Introduction Dudley Andrew is a master at making the world of film theory accessible to a largely mystified public. Since the publication of his Major Film Theories , a classic in the field, the sophistication of the debate concerning the proper approach to film has grown. It is now the province of critics and universities instead of directors and artists, and this book concentrates on the main areas of the debate rather than on the individual figures. Andrew provides lucid explanations of theories which involve perceptual psychology and structuralism; semiotics and psychoanalysis; hermeneutics and genre study. Throughout he presents his own strong views on the relationship of film theory to criticism, history, and analysis. His clear approach to often obscure theories goes a long way towards bringing an important area of cultural discussion out of its academic exile.
Watch the movies before we see the fragments in class!
Keep your NOTES while watching! This "W" class, writing-intensive!
Are you ready for the deep film-thought?
200-words reactions are required on each title on our list!
The Oxford Guide to Film Studies Comprehensive, authoritative, and up-to-date, this volume is an indispensable guide to the study of film. Top international contributors provide an overview of the main disciplinary approaches to film studies, an explanation of the core concepts and methods involved in film analysis, a survey of the major issues and debates in the study of film, and critical discussion of key areas.
A Companion to Film Theory (Blackwell Companions in Cultural Studies)
Kurosawa: Film Studies and Japanese Cinema (Asia-Pacific.)
The films of Akira Kurosawa have had an immense effect on the way the Japanese have viewed themselves as a nation and on the way the West has viewed Japan. In this comprehensive and theoretically informed study of the influential director’s cinema, Mitsuhiro Yoshimoto definitively analyzes Kurosawa’s entire body of work, from 1943’s Sanshiro Sugata to 1993’s Madadayo. In scrutinizing this oeuvre, Yoshimoto shifts the ground upon which the scholarship on Japanese cinema has been built and questions its dominant interpretive frameworks and critical assumptions.
Arguing that Kurosawa’s films arouse anxiety in Japanese and Western critics because the films problematize Japan’s self-image and the West’s image of Japan, Yoshimoto challenges widely circulating clichйs about the films and shows how these works constitute narrative answers to sociocultural contradictions and institutional dilemmas. While fully acknowledging the achievement of Kurosawa as a filmmaker, Yoshimoto uses the director’s work to reflect on and rethink a variety of larger issues, from Japanese film history, modern Japanese history, and cultural production to national identity and the global circulation of cultural capital. He examines how Japanese cinema has been “invented” in the discipline of film studies for specific ideological purposes and analyzes Kurosawa’s role in that process of invention. Demonstrating the richness of both this director’s work and Japanese cinema in general, Yoshimoto’s nuanced study illuminates an array of thematic and stylistic aspects of the films in addition to their social and historical contexts.
Beyond aficionados of Kurosawa and Japanese film, this book will interest those engaged with cultural studies, postcolonial studies, cultural globalization, film studies, Asian studies, and the formation of academic disciplines.
... only recently I began to place in biblio the titles I quote from on my pages.
... And this is why I started page references.
... astore.amazon.com/film600 -- I will use it to make some order in BOOKS on my pages.
... questia.com : very useful : online texts : many links.
An online course supplement *
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations *
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antoly.et + Anatoly Antohin