Film History: An Introduction (Paperback)

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Product Description

Written by two leading film scholars, Film History: An Introduction is a comprehensive survey of film-from the backlots of Hollywood, across the United States, and around the world. As in the authors' bestselling Film Art, concepts and events are illustrated with actual frame enlargements, giving students more realistic points of reference than competing books that use publicity stills.

About the Author

Kristin Thompson is an Honorary Fellow at the University of Wisconsin - Madison. She holds a master's degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin - Madison. She has published Eisenstein's Ivan the Terrible (Princeton University Press, 1981), Exporting Entertainment: America's Place in World Film Markets, 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), Wooster Proposes, Jeeves Disposes; or Le Mot Juste (James H. Heinman, 1992), Storytelling in the New Hollywood (Harvard University Press, 1999), Storytelling in Film and Television (Harvard University Press, 2003), and Herr Lubitsch Goes to Hollywood: German and American Film after World War I (University of Amsterdam, 2005). In her spare time she studies Egyptology. .

The authors have collaborated on Film History (McGraw-Hill, 1994) with Janet Staiger, on The Classical Hollywood Cinema (Columbia University Press, 1985) and Storytelling in the New Hollywood (Harvard University Press, 1999)..

David Bordwell is Jacques Ledoux Professor of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate from the University of Iowa. He is the author of The Films of Carl Theodor Dreyer (University California Press, 1981), Narration in the Fiction Film (University Wisconsin Press, 1985), Ozu and the Poetics of Cinema (British Film Institute/Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997) and Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000). He has won a University Distinguished Teaching Award.

Product Details

• Paperback: 808 pages
• Publisher: McGraw-Hill Humanities/Social Sciences/Languages; 2 edition (August 6, 2002)
• Language: English
• ISBN-10: 0070384290
• ISBN-13: 978-0070384293
• Product Dimensions: 10.8 x 8.7 x 1.2 inches
• Shipping Weight: 3.9 pounds (View shipping rates and policies)
• Average Customer Review: 4.7 out of 5 stars  See all reviews (9 customer reviews)
• Amazon.com Sales Rank: #448,139 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

34 of 34 people found the following review helpful:

5.0 out of 5 stars Comprehensive, nicely packaged, February 11, 2002

By	Andy Williamson (Chicago, IL) - See all my reviews

This review is from: Film History: An Introduction (softcover) (Paperback)

I used this book in a film studies class about four years ago and I kept it because of the wealth of information. For the first time I understood the different epochs of film not only in the U.S. but also around the world. I was introduced to a wider variety of international film and the work of Eisenstein, Renoir, Kurosawa, and others. I highly recommend this book for the concise language, easy explanations, and beautiful black and white and color reproductions from many films. This book is a page turner.

16 of 18 people found the following review helpful:

5.0 out of 5 stars The best single-volume book on film history, April 30, 2006

By	Luke - See all my reviews

If you are interested in film history on the whole, please, give yourself a treat by purchasing this book. It is not cheap but it is worth every penny. I had it after a course in film history and despite being someone who usually sell or dump away my texts after graduation, I find it very hard to give this one away. Boy, am I glad I did not. As one's scope and experience in world cinema grows, so too does one's interest in this book. Bordwell and Thomas's style is academic but always enthusiastic, and theirs is the most comprehensive account of world cinema in English (pre-war Japanese cinema, anyone?). I have not found another general film book on world cinema history to match, and I will certainly be purchasing its third edition (what I have is the first) if that ever comes by.

36 of 49 people found the following review helpful:

5.0 out of 5 stars comparison, January 25, 2006

By	Charles Loyola - See all my reviews

here's a short comparison I made between the following 3 film history books:

A History of the Cinema from Its Origins to 1970 (Eric Rhode)
A Short History of the Movies (Gerald Mast)
Film History: An Introduction, (Thompson-Bordwell)

I was looking for a technical/historical overview of the development of cinema, without idiosyncratic criticism and with emphasis on the origins of film techniques, genealogy of influences of filmmakers, relevant references to history, literature and other arts, and impartial accounts of filmmakers' careers.

Instead of a verdict, I will simply quote passages about two greats:

Rhode: [about Fellini] "Fellini's greatest works are inevitably works of laughter and tears. [...] Fellini gets into trouble when he deserts feeling for thought. La Dolce vita (1959) is a sterile thematic exercise [...] In the film's first sequence, a helicopter [...] The film, intellectualy, is over. Christ has been petrified into wood; he is the tool of modern machinery [...] Although the film has nothing more to say, Fellini continues for two hours, contrasting sensual things [...] Juliet of the Spirits [...] suffers from a similar over-schematization."

Mast: [about Antonioni] "Antonioni sometimes has trouble in allowing his images to accrete meaning [...] His failure to generalize experience was to be total in La notte (1960). Lacking any understanding of how writers think and feel, his portrait of the author, [...] is so unconvincing that the spectator may be tempted to think that Giovanni's crisis of conscience is no more than a rationalization of his inability to escape from his wife's purse-strings."

Thompson-Bordwell: [about Antonioni] "From the start of his career Antonioni demonstrated a mastery of deep focus (Fig. 19.30) and the long take with camera movement (pp. 427-429). The early works also pioneered [...] Antonioni's muted dramatization of shallow or paralyzed characters found a sympathetic response in an era that also welcomed Existentialism. [...] Juan Bardem, Miklos Jansco, and Theo Angelopoulos learned from his distinctive style. Francis Ford Coppola's The Conversation (1974) and Brian De Palma's Blow-Out (1981) derive directly from Blow-Up."


nuff said...