Download Film Studies: The Basics (2nd Edition) by Amy Villarejo PDF

By Amy Villarejo

Movie stories: the fundamentals is a compelling consultant to the research of cinema in all its types. This moment variation has been completely revised and up to date to take account of modern scholarship, the most recent advancements within the and the explosive effect of recent applied sciences. middle issues lined include:

The historical past, know-how and paintings of cinema
Theories of stardom, style and film-making
The motion picture from Hollywood to Bollywood
Who does what on a movie set
Complete with movie stills, end-of-chapter summaries and a considerable thesaurus, movie experiences: the fundamentals is the fitting advent to these new to the learn of cinema.

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Immediately thereafter, Laemmle responded with a blasting notice that the story (which, it should not surprise you, he himself had planted) was a vicious lie: “Miss Lawrence was not even in a streetcar accident, is in the best of health, will continue to appear in ‘Imp’ films, and very shortly some of the best work in her career is to be released” (Jacobs 1967 [1939]: 87). He followed up the stories with a visit from Florence Lawrence and the IMP’s leading man, King Baggott, to put all doubts to rest, and adoring crowds, delighted that Florence Lawrence survived, received them.

He followed up the stories with a visit from Florence Lawrence and the IMP’s leading man, King Baggott, to put all doubts to rest, and adoring crowds, delighted that Florence Lawrence survived, received them. If Laemmle created America’s first star, and perhaps America’s first star couple in Lawrence–Baggott, he also gave form to the couple that is more strongly cemented in this story of stardom’s birth: the star and the promotion/publicity apparatus upon which he or she rests. For stars, as Robert Sklar notes in his wonderful history of cinema, are mysteries explained by no single variable: “beauty, performance style, or promotional effort” (Sklar 1993: 72).

Bazin 1997: 8) The problems with the extremes of the continuum become immediately clear, insofar that positioning any given film or filmmaker on this spectrum would lead to a judgment about the director’s political/philosophical value: Rossellini (one of the giants of neorealism) good, Hitchcock bad. Or, more perniciously, Rossellini politically progressive due to his cinematic style, and Hitchcock politically retrogressive due to his. But the kernel of Bazin’s insights into the philosophical and political (and social, historical, industrial, technological, aesthetic, psychological, personal – and I need to add here “religious”) nature of cinematic expression, how it is able to or unable to seize our collective interest and help it coalesce into deep insight about what one grandly used to call the human condition, should not be lost in continued questions about what cinema is.

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