The Classical Hollywood Cinema: Film Style & Mode of Production to 1960How films are conceived, planned, and produced leaves a mark upon the films, directly and structurally. The relations between film style and mode of production are, according to the authors, reciprocal and mutually influencing. The authors trace such topics as style, economics, and technology over time, demonstrating how significant changes occurrred in Hollywood from the earliest days through the sixties. |
Contents
IV | 16 |
V | 16 |
VI | 24 |
VII | 42 |
VIII | 50 |
IX | 60 |
X | 70 |
XI | 85 |
XXX | 294 |
XXXI | 298 |
XXXII | 309 |
XXXIII | 311 |
XXXIV | 320 |
XXXV | 330 |
XXXVI | 339 |
XXXVII | 341 |
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Common terms and phrases
Academy action American Film Art direction audience became Bell & Howell Cahiers du cinéma camera movement cameraman causality character CinemaScope cinemato cinematographers classical cinema classical film classical Hollywood cinema close-up color companies continuity create crosscutting D.W. Griffith David Bordwell deep focus depth devices director Distributor drama early Eastman editing effects exhibitors expository title film industry film noir film's filmmakers firms foreground frame function Gregg Toland Hollywood cinema Hollywood film innovation inter-titles January JSMPE labor lens lenses lighting long shot manufacturers mode of production montage montage sequence Motion Picture motivation Movies Moving Picture MPHerald narrative norms period photographic Photoplay play practices Reel scenario scene script sequence shooting silent SMPE sound space spectator stage standard star story studio stylistic technical Technicolor techniques teens theater Toland vaudeville Warner Bros widescreen William workers writers York