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Origins 1

OPTICAL PRINCIPLES 1

SERIES PHOTOGRAPHY 3

MOTION PICTURES 5

PROJECTION: EUROPE AND AMERICA 9

THE EVOLUTION OF NARRATIVE: GEORGESMLIS

13

EDWIN S. PORTER: DEVELOPING A CONCEPT OFCONTINUITY EDITING

20

2International Expansion, 1907-1918

32

THE UNITED STATES 32

The Early Industrial Production Process 32

The Motion Picture Patents Company 35

The Advent of the Feature Film 38

The Rise of the Star System 40

The Move to Hollywood 41

The New Studio Chiefs and Industry Realignment 42

The "Block Booking" Dispute and the Acquisition ofTheaters

44

The Rise of Hollywood to International Dominance 46

EXPANSION ON THE CONTINENT 47

The Empire of Path Frres 47

Louis Feuillade and the Rise of Gaumont 49

The Socit Film d'Art 52

The Italian Superspectacle 55

-vii-

3D. W. Griffith and theDevelopment of

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Narrative Form59

FORMATIVE INFLUENCES 60

THE BEGINNING AT BIOGRAPH 61

INNOVATION, 1908-1909:INTERFRAME NARRATIVE

62

INNOVATION, 1909-1911:INTRAFRAME NARRATIVE

67

GRIFFITH'S DRIVE FOR INCREASEDFILM LENGTH

70

JUDITH OF BETHULIAAND THEMOVE TO MUTUAL

72

THE BIRTH OF A NATION 75

Production 75

Structure 79

Impact 85

INTOLERANCE 87

Production 87

Structure 90

Influence and Defects 91

GRIFFITH AFTERINTOLERANCE 94

DECLINE 98

THE IMPORTANCE OF GRIFFITH 101

4 German Cinema of theWeimar Period,

1919-1929102

THE PREWAR PERIOD 102

THE WAR YEARS 104

The Scandinavian Influence 104

THE FOUNDING OF UFA 106

DAS KABINETT DES DR. CALIGARI 109

THE FLOWERING OF 112

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EXPRESSIONISM

Fritz Lang 113

F. W. Murnau and theKammerspielfilm 115

THE PARUFAMET AGREEMENT ANDTHE MIGRATION TOHOLLYWOOD

122

G. W. PABST AND "STREET"REALISM

123

DOWN AND OUT 127

5 Soviet Silent Cinema andthe Theory of Montage,

1917-1931130

THE PREREVOLUTIONARY CINEMA 130

THE ORIGINS OF THE SOVIETCINEMA

131

DZIGA VERTOV AND THE KINO-EYE

133

LEV KULESHOV AND THEKULESHOV WORKSHOP

135

SERGEI EISENSTEIN 140

The Formative Years 141

From Theater to Film 144

-viii-

The ProductionofBattleship Potemkin

147

The StructureofPotemkin

148

Eisenstein's Theory ofDialectical Montage

169

October (Ten Days That

Shook theWorld,1928):

A Laboratory for

175

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Intellectual Montage

Eisenstein after October 178

VSEVOLOD PUDOVKIN 181

ALEXANDER DOVZHENKO 186

OTHER SOVIETFILMMAKERS

190

SOCIALIST REALISM ANDTHE DECLINE OF SOVIETCINEMA

193

6Hollywood in theTwenties

196

THOMAS INCE, MACKSENNETT, AND THE STUDIOSYSTEM OF PRODUCTION

197

CHARLIE CHAPLIN 200

BUSTER KEATON 205

HAROLD LLOYD ANDOTHERS

212

HOLLYWOOD SCANDALS

AND THE CREATION OFTHEMPPDA

214

CECIL B. DEMILLE 217

THE "CONTINENTALTOUCH": LUBITSCH ANDOTHERS

218

IN THE AMERICAN GRAIN 221

ERICH VON STROHEIM 225

7 The Coming of Soundand Color, 1926-1935

239

SOUND-ON-DISC 239

SOUND-ON-FILM 241

VITAPHONE 243

FOX MOVIETONE 246

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THE PROCESS OFCONVERSION

248

THE INTRODUCTION OFCOLOR

252

PROBLEMS OF EARLYSOUND RECORDING

260

THE THEORETICAL DEBATEOVER SOUND

265

THE ADJUSTMENT TOSOUND

268

8 The Sound Film andthe American Studio

System

274

NEW GENRES AND OLD 274

STUDIO POLITICS AND THEPRODUCTION CODE

280

THE STRUCTURE OF THESTUDIO SYSTEM

284

MGM 286

Paramount 288

Warner Bros. 290

20th CenturyFox 292

RKO 293

The Minors 295

-ix-

"Poverty Row"300

Ethnic Cinema 302

MAJOR FIGURES OF THESTUDIO ERA

307

Josef von Sternberg 307

John Ford 312

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Howard Hawks 319

Alfred Hitchcock 323

George Cukor, WilliamWyler, and Frank Capra

341

9 Europe in theThirties

347

THE INTERNATIONALDIFFUSION OF SOUND

347

BRITAIN 348

GERMANY 350

ITALY 353

THE SOVIET UNION 354

FRANCE 362

Avant-GardeImpressionism, 1921-1929 362

The "Second" Avant-Garde 369

Sound, 1929-1934 374

Poetic Realism, 1934-1940 378

Jean Renoir 381

10 Orson Wellesand the ModernSound Film392

CITIZEN KANE 393

Production 393

Structure 397

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Influence 409

WELLES AFTER KANE 411

1 1 Wartime andPostwar Cinema:Italy and

The UnitedStates, 1940-1951

421

THE EFFECTS OF WAR 421

ITALY 422

The Italian Cinema beforeNeorealism

422

The Foundations ofNeorealism

424

Neorealism: Major Figuresand Films

427

The Decline of Neorealism 436

The Impact of Neorealism 437

THE UNITED STATES 439

Hollywood at War 439

The Postwar Boom 443

POSTWAR GENRES INTHE UNITED STATES

446

"Social-Consciousness"Films andSemidocumentary

Melodramas 446

Film Noir 449

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The Witch-Hunt and the Blacklist 453

The Arrival of Television 458

12 Hollywood,1952-1965

461

THE CONVERSION TOCOLOR

461

WIDESCREEN AND 3-D 463

Multi-Camera / ProjectorWidescreen: Cinerama

463

Depth: Stereoscopic 3-D 465

The Anamorphic Widescreen

Processes

469

The Nonanamorphic, or Wide-Film, Widescreen Processes

472

Adjusting to Widescreen 474

The Widescreen "Blockbuster" 477

American Directors in the EarlyWidescreen Age

479

FIFTIES GENRES 486

The Musical 486

Comedy 487

The Western 491

The Gangster Film and theAnticommunist Film

493

Science Fiction 498

The "Small Film":American Kammerspiel

509

INDEPENDENTPRODUCTION AND THEDECLINE OF THESTUDIO SYSTEM

510

THE SCRAPPING OF THEPRODUCTION CODE

513

13 The French New Wave and Its Native

Context516

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THE OCCUPATION ANDPOSTWAR CINEMA

516

Robert Bresson and Jacques Tati 520

Max Ophls 522

INFLUENCE OF THE FIFTIESDOCUMENTARYMOVEMENTAND INDEPENDENTPRODUCTION

524

THEORY: ASTRUC, BAZIN,ANDCAHIERS DU CINMA

528

THE NEW WAVE: FIRSTFILMS

530

THE NEW WAVE: ORIGINSOF STYLE

534

MAJOR NEW WAVEFIGURES

536

Franois Truffaut 536

Jean-Luc Godard 541

Alain Resnais 547

Claude Chabrol 550

Louis Malle 552

Eric Rohmer and Jacques Rivette 555

Agns Varda, Jacques Demy, andOthers

557

THE SIGNIFICANCE OF THENEW WAVE

567

-xi-

14 New Cinemas inBritain and the English-SpeakingCommonwealth

568

GREAT BRITAIN 568

Postwar British Cinemaand Its Context

568

The Free Cinema

Movement

571

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British "New Cinema,"or Social Realism

572

The End of SocialRealism and Beyond

579

AUSTRALIA AND NEWZEALAND

589

CANADA 600

15 EuropeanRenaissance: West

607

THE SECOND ITALIAN FILMRENAISSANCE

607

Federico Fellini 607

Michelangelo Antonioni 612

Olmi, Pasolini, andBertolucci

616

Other ItalianAuteurs 620

CONTEMPORARY WIDESCREENTECHNOLOGIES AND STYLES

627

SCANDINAVIAN OR NORDIC

CINEMA

631

Ingmar Bergman 631

Other Nordic Cinema 638

SPAIN 644

Luis Buuel 644

New Spanish Cinema 653

GERMANY: DAS NEUE KINO 658

Postwar Origins 658

Young German Cinema 659

The New GermanCinema

660

Volker Schlndorff,Alexander Kluge, andMargarethe von Trotta

662

Rainer Werner 664

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Fassbinder

Werner Herzog 668

Wim Wenders 672

Hans Jrgen Syberbergand Others

675

Jean-Marie Straub andMarxist Aesthetics

677

1 6 EuropeanRenaissance: East

682

POLAND 683

The Polish School 683

The SecondGeneration

688

The Third PolishCinema

692

Solidarity and thePolish Cinema

695

FORMER CZECHOSLOVAKIA 700

The Postwar Period 700

The Czech New Wave 704

-xii-

"Banned Forever"714

HUNGARY 717

Three Revolutions 717

Andrs Kovcs 719

Mikls Jancs 720

Gal, Szab, andMszros

725

Other HungarianDirectors

729

FORMER YUGOSLAVIA 742

Partisan Cinema andNationalist Realism

743

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Novi Film 746

The "Prague Group" 750

BULGARIA 758

ROMANIA 770

OTHER BALKAN COUNTRIES 776

17 The Former SovietUnion, 1945Present

781

STALINIST CINEMA 781

CINEMA DURING THEKHRUSHCHEV THAW

783

SERGEI PARAJANOVANDSHADOWS OF FORGOTTENANCESTORS

787

CINEMA UNDER BREZHNEV 791

CINEMA OF THE NON-RUSSIANREPUBLICS

794

BALTIC CINEMA 795

Lithuania 795

Latvia 796

Estonia 797

Moldavia (Moldova) 797

TRANSCAUCASIAN CINEMA 798

Georgia 798

Armenia 803

Azerbaijan 807

CENTRAL ASIAN CINEMA 808

Uzbekistan 808

Kazakhstan 811

Kirghizia (Kyrgyzstan) 814

Tadjikistan 815

Turkmenistan 816

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SOVIET RUSSIAN CINEMA 817

GLASNOST, PERESTROIKA,ANDTHE COLLAPSEOF THE SOVIET UNION

822

1 8 Wind from theEast: Japan, India,and China

828

JAPAN 828

The Early Years 828

Sound 830

War 831

-xiii-

Occupation833

Rashomon,Kurosawa, and thePostwar Renaissance

834

Kenji Mizoguchi 842

Yasujiro Ozu 844

Off-Screen Space 846

The Second Postwar Generation 848

The Japanese New Wave 851

Japanese Filmmaking after theNew Wave

856

Decline of the Studios 858

INDIA 860

Satyaj it Ray 862

Parallel Cinema 864

CHINA 868

The People's Republic of China 868

Hong Kong 872

Taiwan 874

19 Third WorldCinema 877

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LATIN AMERICA 878

Mexico 880

Brazil 882

Argentina 886

Bolivia, Peru, and Chile 889

Venezuela, Colombia, andCentral America

894

CUBA AND THE NEW LATINAMERICAN CINEMA

896

AFRICA 901

THE MIDDLE EAST 909

Iran 909

Israel 912

PACIFIC RIM 916

20 Hollywood,1965Present

919

THE NEW AMERICAN

CINEMA

923

The Impact of Bonnie and Clyde 923

2001: A Space Odyssey 925

The Wild Bunch:"Zapping theCong"

928

End of a Dream 931

HOLLYWOOD IN THE

SEVENTIES AND EIGHTIES

933

Inflation and Conglomeration 933

New Filmmakers of theSeventies and Eighties

937

The American Film Industry inthe Age of "Kidpix"

944

The Effects of Video 947

FROM MECHANICALREPRODUCTION TO THE

954

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VIRTUALLY REAL

-xiv-