Many feature length films and films made for television are adaptable to classroom use, especially in the arts, humanities, and social sciences, and students may accept a well-produced film (even if it is older) more readily than an inexpensively produced educational film. This booklet discusses how animated films, narrative feature films,…

"Understanding Film," the opening section of this book, discusses perceptions of and responses to film and the way in which experiences with and knowledge of other media affect film viewing. The second section, "Film Elements," analyzes the basic elements of film: the use of space and time, the impact of editing, sound and color, and the effects…

The stress given to film directors and stars in current academic cinema studies unjustifiably ignores the artistic contributions of cinematographers. Frequently, cinematographers are responsible for much of the artistic expression and inventiveness in films. Although determination of the extent of the cinematographer's contribution is difficult,…

The thesis of this classic, the major part of which was originally published in 1933, is that the peculiar virtues of film as art derive from an exploitation of the limitations of the medium: the absence of sound, the absence of color, the lack of three-dimensional depth. Silent-film artists made virtues of these necessities and were on their way…

Examines Czechoslovakia's cinematic output during the 1960's and suggests that the Czech New Wave was a predictable response of a culture attracted by, but unwilling to come to terms with, socialist art. (MH)

Article is concerned with the education of the filmaker and describes the effect the Center for Advanced Film Studies can have. (RK)

Suggests films (including the Nazi's "Triumph of the Will ) and teaching techniques for a unit on the propaganda film; illustrated. (RD)

Approaches film criticism using classical and modern rhetorical concepts. Discusses the nature and effectiveness of the filmmaker's modes of appeal--to logos, pathos, and ethos, and the appropriateness of his/her rhetorical stance--the balance of attitudes toward subject, audience, and his/her creative self. (JMF)

Recounts the life of Adela Sequeyro, actress, journalist, and producer of two feature films in the 1930s. (RS)

In audiovisual writing the writer must first learn to think in terms of moving visual presentation. The writer must research his script, organize it, and adapt it to a limited running time. By use of a pleasant-sounding narrator and well-written narration, the visual and narrative can be successfully integrated. There are two types of script…

This book explores the sociological implications of the type of feature films produced in Hollywood. The origins, growth, and economic structure of the film industry are studied with the methodology of social science. The sociological implications of the personal roles projected by film stars and the "world view" implicit in Hollywood…

This second edition of "A Short History of the Movies" includes expanded information and judgments about some of the "old masters" of film; an updated discussion of the "new masters"; and new sections on Japanese, Indian, and Czech cinema. In general, this history reveals significant trends in film history. American…

Prefaced by a brief discussion of early films and film criticism, 10 essays treat selected modern directors and their works. Essays on Stanley Kubrick's "Lolita," the early works of Elia Kazan, and the response of French critics to Jerry Lewis explore the American scene, while Francois Truffaut's "Jules and Jim," the early work of Robert Bressen,…

This book covers the life and aesthetic qualities of the work of the European film-maker Jean-Marie Straub (1933- ). It contains introductory chapters on the biography and artistic milieu of Straub and continues with a chapter-by-chapter critical treatment of each of his films: "Machorka-Muff"; "Not Reconciled"; "Chronicle…