Anatomy. of Film. Bernard F. Dick Fairleigh Dickinson University. ßedford / 51. Martin's. Boston New York . \;' '.~ ;~"' ':/1:,1~...

Transcription

1 SIXTH EDITION Anatomy of Film Bernard F. Dick Fairleigh Dickinson University. \;' '.~ ;~"' ':/1:,1~.... ~(1,:,..., ':'. -. ".. :;.:" ~ : "..', :~ " ' ;: :\ ~..' ßedford / 51. Martin's Boston New York

2 Contents Preface v Acknowledgments vi Understanding the Medium Film as a Hybrid Art 2 CHAPTER I The Creation of the Narrative Film 3 Narrative Film 4 Time-Space Relationships 5 Simultaneity in Fiction and Drama 7 Movie Time 8 The Diversity of the Medium 9 Independent Film 9 International Film 14 Examining a Film Text 18 Graphics and Sound 21 CHAPTER 2 Graphics 22 Logos 22 Main Titles, Credits, Precredits, Sequences, and End Credits 24 Opening Titles and End Titles 29 Intertitles 32 Subtitles 34 Other Uses of the Printed Word 35 Sound 36 Actual and Commentative Sound 38 Synchronization and Asynchronization 38 ix

3 Overlap 41 Voice-Over Narration 42 The Narrating Hf" 43 The Voice cif God 45 The Epistolary V(,ice 46 The Subjective Voice 47 The Repetitive Voice 48 The Voice fiom the Machine 49 Film, Space, and Mise-en-ScEme SI CHAPTER 3 The Shot SI Types ofshots 52 Close-ups and Lang Shots 52 High-Angle and Law-Angle Shots 54 Subjective Camera 56 The Moving Shot 60 Zooms and Freezes 63 Combining Shots: The Sequence 64 The Linear Sequence 65 The Associative Sequence 67 The Montage Sequence 68 From Shot to Shot 69 Cuts 69 Transitions 71 The Fade 71 The Dissolve 72 The Form Dissolve 74 The Wipe 75 The Iris 76 Assembling the Shots 79 Eisenstein's Theory ofmontage 79 Continuity Editing 81 Rhythm 81 Time 81 Space 81 Time 82 Theme 83 The Role of the Editor 83 Mise-en-Scime 86 x

4 Enhancing the Image: Color. Lighting. and Visual Effects 99 CHAPTER 4 Coloring the Image 99 The Black-and-White Film 100 The Color Film 102 The Visual Style of The Hours 107 Colorization 108 Lighting the Image 110 Special EffectsNisual Effects (SFX, VFX) 114 Film Genres 119 ~;...,'.'.<;;, C;"/'.~ CHAPTER 5 The Musical TheWestern The Crime Film Film Noir The Combat Film 152 Comedies 156 Screwball Comedy 156 Farce 160 Satire 164 The Reflexive Film 165 The Woman's Film 177 The Documentary 183 The Horror Film 188 The Science-Fiction Film 193 Understanding Genre 198 Film Subtext 200 CHAPTER 6 Mythic Associations 203 The Transformation Myth in Jacques Tourneur's Cat People 205 The Savior Myth in George Stevens's Shane 206 Shane as achrist Figure 206 Shane as Apollo-Herwles 207 Shane as Knight-Errant 208 The War of the Worlds Myth in the Wachowski Brothers' Matrix Trilogy 209 xi

5 Visual/lconic Associations 213 Humphrey Bogart as Screen Icon in Raoul Walsh's High Sierra 214 Al Pacino as Christ Figure in Sidney Lumet's Serpico 216 Jack Nicholson as Free Spirit and Louise Fletcher as Boss Lady in Milos Forman's One Flew over the Cuckoo's Nest 217 Barbara Stanwyck as Marlene Dietrich in Billy Wilder's Double Indemnity 219 Intellectual Associations 219 History by Suggestion 221 Film History by Suggestion 224 Remaking the Original: The Shop Around the Corner, In the Good Old Summertime, You've Got Mail 226 Musical Associations 230 The Film Director 238 Auteurism 238 CHAPTER 7 The Beginnings ofauteurism 239 The Debate over Auteurism 241 Collaboration 243 Variety 246 Repetition 250 Quotations 250 Borrowings 253 An Interview with Billy Wilder 254 Three Directors on Directing 261 Edward Dmytryk (On Screen Directing) 261 Sidney Lumet (On Makillg Movies) 263 David Mamet (Oll Directing Film) 265 Film and literature 268 CHAPTER8 Literary Techniques 270 The Flashback 270 The Flash-Forward 271 Point ofview 272 Omlliscient Narrator 273 Implied Author 274 xii

6 Film Adaptation 276 Adaptations ofnovels 281 AdaptingJane Austen for the Screen 281 Jane Austen:~ Emma, Amy Heckerling's Clueless, and Doug McGrath's Emma 281 Joe Wrights Pride and Prejudice 284 Adapting Virginia Woolf for the Screen 288 Virginia U70olf's Mrs. Dalloway and Marleen Gorris's Mrs. Dalloway 288 Michael Cunningham:~ The Hours and Stephen Daldrys The Hours 292 Adaptations ofplays 298 Adaptations ofshort Stories 304 Daphne du Mauriers "Ihe Birds" and Alfred Hitchcock's The Birds 304 Philip K. Dick's "Minority Report" and Steven Spie/bergs Minority Report 307 Annie Proulx's "Brokeback Mountain" and Ang Lee's Brokeback Mountain 310 The Nature of Screenwriting 313 Film Analysis 321 CHAPTER 9 Raging Bull (Martin Scorsese, 1980) 323 Crouching Tiger, Hidden Dragon (Ang Lee. 2003) 326 The Passenger (Michelangelo Antonioni. 1975) and Cache (Michael Haneke, 2005) 331 Pan's Labyrinth (Guillermo dei Toro, 2006) 339 Analyzing Films 343 Film Theory and Criticism 345 CHAPTER 10 The History of Film Criticism 346 The Russians 346 The Grammarians 347 The Apologists 348 The Realists 348 The Auteurists 353 The Mythographers 354 The Semioticians 355 Feminist Criticism 361 xiii

7 Ideological Criticism 365 Reception Theory 368 The Reviewers 370 Practical Criticism: Interpreting Citizen Kane 375 The Film Historian 375 The Auteurist 377 The Myth Critic 380 The Social Historian 381 Guidelines for Film Criticism 383 Appendix I: List of Referenced Films and Directors 387 Appendix 2: Writing about Film from a Student Perspective 408 Doubles in Psycho 408 Novel into Film 409 The Unseen Mrs. Bates and Hitchcock's Terrible Mothers 410 The Production History of Psycho 411 Documentation 412 Sampie Student Paper 413 Art vs. Violence in A Clockwork Orange 413 Appendix 3: Online Resources and Citation 416 Video and DVD Rental and Purehase 416 Web Sites 416 Ratings 416 New Films 417 Studio Web Addresses 417 Casts, Credits, and Reviews 417 The Library of Congress 418 Directors' Sites 418 Citing Onli ne Resources 419 Glossary of Motion Picture Terms 421 Index 431 xiv