Download Film Art: An Introduction (9th edition) by Kristin Thompson, David Bordwell PDF

By Kristin Thompson, David Bordwell

ISBN-10: 0073386162

ISBN-13: 9780073386164

Film is an paintings shape with a language and a cultured all its personal. on the grounds that 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and largely revered advent to the research of cinema.

Taking a skills-centered technique supported through quite a lot of examples from numerous classes and international locations, the authors attempt to aid scholars increase a middle set of analytical abilities that might deepen their realizing of any movie, in any style. body enlargements in the course of the textual content permit scholars to view photographs taken without delay from accomplished motion pictures, whereas an not obligatory, text-specific instructional CD-ROM is helping make clear and strengthen particular strategies addressed within the textual content with using movie clips. construction on those strengths, the 9th variation provides assurance of recent applied sciences, up-to-date examples, and references to the authors' acclaimed web publication to supply extraordinary foreign money and fix scholars with the realm of cinema at the present time.

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Additional resources for Film Art: An Introduction (9th edition)

Sample text

The Pin k P anth er (1963 ) is ample proo f. Its saxo phon e tune is one of the mos t celebrated motifs in film mus ic. As an alb um it spent 88 weeks in U S ch arts, and has ap peared on cou ntles s compilation s from the p eriod. Seven sequel films followed, all still with Ed ward s. His other doub le Oscar win came with Ha tari! (1962 ) fo r director How ard Hawks. The so ng ‘Baby Elephant Walk’ was a boog ie-woog ie sensation d es pite the film’s fairly serio us tone for an African safari. Mancin i was a great prop onent of his belief th at music s hould be heard in film.

T he magic is evok ed as much throug h s urreal co lou r saturation an d imagery as by o ne of Herrmann ’s mo st heartfelt compositio ns cap turing the very ess ence of yearnin g and desire. Nex t came a remake of th e d irector’s own w ork with 32 The M an Who Kn ew Too Much (1956 ), with James Stewart an d D oris Day emb roiled in th e wo rld of kidnapp ing and es pion ag e. Alth ough Herrmann wrote a comp aratively sho rt score, h e was g iven one of the most promin en t on -s creen cameo s any film comp oser has had.

Later with Take A Hard R ide (197 5) some clear references to th e s paghetti western lick s of Ennio Mo rrico ne w ere ap paren t. Abo ut the only other time he was obv ious ly asked to emulate another style 49 was for the Bond wann ab es w ith J ames Coburn as Our Man Flint (19 65). Both this and its seq uel In Like Flint (196 7) feature w inks an d tips of the hat with electric g uitar and keybo ards . He was far more draw n to seriou sly natu red pro jects tho ugh, frequently leading to go od critical notice.

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