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| Preface | |
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| Film Art and Filmmaking | |
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| Film as Art: Creativity, Technology, and Business | |
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| Film Artistry in Shadow of a Doubt | |
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| Box: A Closer Look: Picking out Patterns | |
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| Mechanics of the Movies | |
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| Illusion Machined | |
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| Making the Movie: Film Production | |
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| The Scriptwriting and Funding Phase | |
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| The Preparation Phase | |
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| Shooting Phase | |
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| The Assembly Phase | |
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| Box: A Closer Look: Some Terms and Roles in Film Production | |
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| Artistic Implications of the Production Process | |
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| Modes of Production | |
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| Large-Scale Production | |
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| Exploitation and Independent Production | |
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| Small-Scale Production | |
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| Artistic Implications of Different Modes of Production | |
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| Box: A Closer Look: Convergences: Film and Video | |
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| Bringing the Film to the Audience: Distribution and Exhibition | |
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| Distribution: The Center of Power | |
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| Exhibition: Theatrical and Nontheatrical | |
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| Box: Movies on Screen: A 2004 Profile of Theatrical Exhibition | |
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| Artistic Implications of Distribution and Exhibition | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVDs | |
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| Recommended DVD Supplements | |
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| Film Form | |
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| The Significance of Film Form | |
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| The Concept of Form in Film | |
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| Form as System | |
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| "Form" Versus "Content" | |
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| Formal Expectations | |
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| Conventions and Experience | |
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| Form and Feeling | |
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| Form and Meaning | |
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| Evaluation | |
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| Principles of Film Form | |
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| Function | |
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| Similarity and Repetition | |
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| Difference and Variation | |
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| Development | |
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| Unity and Disunity | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| Narrative as a Formal System | |
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| Principles of Narrative Construction | |
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| Plot and Story | |
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| Cause and Effect | |
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| Time | |
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| Space | |
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| Box: A Closer Look: Playing Games with Story Time | |
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| Openings, Closings, and Patterns of Development | |
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| Narration: The Flow of Story Information | |
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| Range of Story Information | |
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| Depth of Story Information | |
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| The Narrator | |
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| Summing Up Narration | |
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| The Classical Hollywood Cinema | |
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| Narrative Form in Citizen Kane | |
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| Overall Narrative Expectations in Citizen Kane | |
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| Plot and Story m Citizen Kane | |
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| Citizen Kane's Causality | |
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| Time in Citizen Kane | |
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| Motivation Citizen Kane | |
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| Citizen Kane's Parallelism | |
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| Patterns of Plot Development in Citizen Kane | |
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| Narration in Citizen Kane | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| Film Style | |
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| The Shot: Mise-en-Scene | |
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| What Is Mise-en-Scene? | |
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| Aspects of Mise-en-Scene | |
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| Setting | |
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| Costume and Makeup | |
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| Lighting | |
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| Staging: Movement and Performance | |
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| Box: A Closer Look: The Film Actor's Toolkit | |
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| Putting It All Together: Mise-en-Scene in Space and Time | |
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| Space | |
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| Time | |
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| Narrative Functions of Mise-en-Scene in Our Hospitality | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| The Shot: Cinematography | |
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| The Photographic Image | |
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| The Range of Tonalities | |
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| Speed of Motion | |
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| Perspective | |
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| Box-A Closer Look: From Monsters to the Mundane: Computer-Generated imagery in The Lord of the Rings | |
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| Framing | |
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| Frame Dimensions and Shape | |
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| Box: A Closer Look: Common Aspect Ratios of 35mm Film | |
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| Onscreen and Offscreen Space | |
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| Angle, Level, Height, and Distance of Framing | |
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| The Mobile Frame | |
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| Duration of the Image: The Long Take | |
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| Functions of the Long Take | |
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| The Long Take and the Mobile Frame | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| The Relation of Shot to Shot: Editing | |
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| What Is Editing? | |
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| Dimensions of Film Editing | |
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| Graphic Relations Between Shot A and Shot B | |
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| Rhythmic Relations Between Shot A and Shot B | |
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| Spatial Relations Between Shot A and Shot B | |
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| Temporal Relations Between Shot A and Shot B | |
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| Continuity Editing | |
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| Spatial Continuity: The 180[Degrees] System | |
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| Continuity Editing in The Maltese Falcon | |
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| Continuity Editing: Some Fine Points | |
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| More Refinements: Crossing the Axis of Action | |
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| Crosscutting | |
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| Temporal Editing: Order, Frequency, and Duration | |
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| Box: A Closer Look: Intensified Continuity: L.A. Confidential and Contemporary Editing | |
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| Alternatives to Continuity Editing | |
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| Graphic and Rhythmic Possibilities | |
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| Spatial and Temporal Discontinuity | |
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| Functions of Discontinuity Editing: October | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| Sound in the Cinema | |
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| The Powers of Sound | |
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| Fundamentals of Film Sound | |
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| Perceptual Properties | |
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| Selection, Alteration, and Combination | |
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| Dimensions of Film Sound | |
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| Rhythm | |
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| Fidelity | |
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| Space | |
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| Box: A Closer Look: Offscreen Sound and Optical Point of View: The Money Exchange in Jackie Brown | |
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| Time | |
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| Functions of Film Sound: A Man Escaped | |
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| Fontaine's Commentary | |
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| Sound Effects and Narration | |
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| Sound Motifs | |
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| Music | |
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| A Sample Sequence | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| Summary: Style as a Formal System | |
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| The Concept of Style | |
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| Style and the Filmmaker | |
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| Style and the Viewer | |
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| Analyzing Film Style | |
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| Determine the Organization Structure | |
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| Identify the Salient Techniques Used | |
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| Trace Out Patterns of Techniques | |
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| Propose Functions for the Salient Techniques and the Patterns They Form | |
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| Style in Citizen Kane | |
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| Summary | |
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| Where to Go from Here | |
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| Recommended DVD Supplements | |
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| Types of Films | |
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| Film Genres | |
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| Understanding Genre | |
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| Defining a Genre | |
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| Analyzing a Genre | |
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| Genre History | |
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| Box: A Closer Look: A Contemporary Genre: The Crime Thriller | |
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| The Social Functions of Genres | |
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| Three Genres | |
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| The Western | |
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| The Horror Film | |
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| The Musical | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| Documentary, Experimental, and Animated Films | |
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| Documentary | |
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| What Is a Documentary? | |
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| Types Documentary | |
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| The Boundaries Between Documentary and Fiction | |
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| Types of Form in Documentary Films | |
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| Categorical Form | |
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| Rhetorical Form | |
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| Experimental Film | |
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| Types of Form in Experimental Films | |
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| Abstract Form | |
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| Associational Form | |
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| The Animated Film | |
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| An Example of Narrative Animation: Duck Amuck | |
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| An Example of Experimental Animation: Fuji | |
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| Summary | |
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| Where to Go from Here | |
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| Websites | |
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| Recommended DVD Supplements | |
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| Critical Analysis of Films | |
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| Film Criticism: Critical Analyses | |
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| The Classical Narrative Cinema | |
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| His Girl Friday | |
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| North by Northwest | |
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| Do The Right Thing | |
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| Narrative Alternatives to Classical Filmmaking | |
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| Breathless (A Bout de Souffle) | |
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| Tokyo Story (Tokyo Monogatari) | |
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| Chungking Express (Chung Hing sam lam) | |
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| Documentary Form and Style | |
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| Man with a Movie Camera (Chelovek s kinoapparatom) | |
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| The Thin Blue Line | |
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| Form, Style, and Ideology | |
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| Meet Me in St. Louis | |
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| Raging Bull | |
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| Writing a Critical Analysis of a Film | |
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| Preparing to Write | |
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| Develop a Thesis That Your Essay Will Explain and Support | |
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| Draw Up a Segmentation of the Entire Film | |
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| Note Outstanding Instances of Film Technique | |
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| Organizing and Writing | |
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| Summary | |
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| Sample Essay: Fantasy and Reality in The King of Comedy | |
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| Where to Go from Here | |
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| Sample-Analysis Films on DVD | |
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| Film History | |
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| Film Art and Film History | |
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| Early Cinema (1893-1903) | |
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| The Development of the Classical Hollywood Cinema (1908-1927) | |
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| German Expressionism (1919-1926) | |
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| French Impressionism and Surrealism (1918-1930) | |
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| Impressionism | |
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| Surrealism | |
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| Soviet Montage (1924-1930) | |
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| The Classical Hollywood Cinema After the Coming of Sound | |
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| Italian Neorealism (1942-1951) | |
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| The French New Wave (1959-1964) | |
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| The New Hollywood and Independent Filmmaking | |
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| Contemporary Hong Kong Cinema | |
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| Where to Go from Here | |
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| Recommended DVDs | |
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| Recommended DVD Supplements | |
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| Glossary | |
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| Credits | |
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| Index | |