This text seeks to revise notions of film genre. It connects the roles played by industry critics and audiences in making and re-making genre. In a critique of major voices in the history of genre theory from Aristotle to Wittgenstein, Altman reveals the conflicting stakes for which the genre game has been played. Recognizing that the very term "genre" has different meaning for different groups, he bases his genre theory on the uneasy competitive yet complimentary relationship among genre users and discusses a range of films from "The Great Train Robbery" to "Star Wars," and from "The Jazz Singer" to "The Player."

First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Building on recent theoretical developments Sound Theory/Sound Practice radically extends the range of critical discourse relevant to film studies. Offering a fresh perspective on the often neglected phenomenon of film sound, this important collection is constructed around a series of new essays by editor Rick Altman: "Cinema as Event", "Four-and-a-half Film Fallacies", "Sound/History", "Sound's Dark Corners", and "A Baker's Dozen New Terms for Sound Analysis".

Narrative is a powerful element of human culture, storing and sharing the cherished parts of our personal memories and giving structure to our laws, entertainment, and history. We experience narrative in words, pictures, and film, yet regardless of how the tale is told, story remains independent from the media that makes it concrete. Narrative follows humans wherever they travel and adapts readily to new forms of communication. Constantly evolving and always up-to-date, narrative is a necessary strategy of human expression and a fundamental component of human identity.

In order to understand human interaction, award-winning scholar Rick Altman launches a close study of narrative's nature, its variation in different contexts, and the method through which it makes meaning. Altman's approach breaks away from traditional forms of analysis, identifying three basic strategies: single-focus, dual-focus, and multiple-focus. Unpacking an intentionally diverse selection of texts, Altman demonstrates how these strategies function in context and illustrates their theoretical and practical applications in terms of textual analysis, literary and film history, social organization, religion, and politics. He employs inventive terminology and precise analytical methods throughout his groundbreaking work, making this volume ideal for teaching literary and film theory and for exploring the anatomy of narrative on a more general level.

Establishing a new vision for film history, "Film and Attraction: From Kinematography to Cinema" urges readers to consider the importance of complex social and cultural forces in early film. Andre Gaudreault argues that Edison and the Lumieres did not invent cinema; they invented a device. Explaining how this device, the kinematograph, gave rise to cinema is the challenge he sets for himself in this volume. He highlights the forgotten role of the film lecturer and examines film's relationship with other visual spectacles in fin-de-siecle culture, from magic sketches to fairy plays and photography to vaudeville. In reorienting the study of film history, Film and Attraction offers a candid reassessment of Georges Melies' rich oeuvre and includes a new, unabridged translation of Melies' famous 1907 text "Kinematographic Views." A foreword by Rick Altman stresses the relevance of Gaudreault's concerns to Anglophone film scholarship.

THIRD EDITION: Did you learn PowerPoint in 30 minutes? Join the crowd...most people get no more than a half-hour of training time with PowerPoint before they are tasked with making what is likely to be a first impression of themselves or their company. This book is for earnest presenters and presentation designers who want to escape the perils that entrap so many who turn to PowerPoint for their presentations.

SECOND EDITION: Did you learn PowerPoint in 30 minutes? Join the crowd...most people get no more than a half-hour of training time with PowerPoint before they are tasked with making what is likely to be a first impression of themselves or their company. This book is for earnest presenters and presentation designers who want to escape the perils that entrap so many who turn to PowerPoint for their presentations.

El presente libro efectua una relectura radical de nuestras ideas acerca de los generos cinematograficos. En realidad, se trata del primer texto que relaciona de modo amplio los papeles que desempenan la industria, la critica y el publico en la genesis y la redefinicion de los generos. Rick Altman se dedica a prestar atencion a las voces mas importantes en la historia de la teoria de los generos de Aristoteles a Wittgenstein y revela al lector cuales han sido las apuestas mas arriesgadas al respecto. Para empezar, reconoce que el propio termino genero conlleva en si mismo significados diferentes segun los distintos sujetos que lo enuncien. Luego, elabora una nueva teoria del genero basada en la relacion, dificil y competitiva, pero tambien complementaria entre sus diversos usuarios. Y, en fin, menciona y comenta una amplia variedad de ejemplos, desde Asalto y robo de un tren hasta La guerra de las galaxias, de El cantor de jazz a El juego de Hollywood.

Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how souns was used to accompany the films of this era. Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive origianl reserach and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies-from carniva-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years. But in the 1910s, film sound acquiesced to the demands of the burgeoning cinema industry, who successfully argued that accompaniment should enhance film's narrative and emotional content rather than score points by burluesqiung or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music publication projects, and the development of a new style of film msuic. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema story-telling. For the first time, Silent Film Sound details the ways in which these diverse intersts and industires cam together to produce an extraordinarily successful audiovisual art. Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how sound was used to accompany the films of this era. Silent Film Sound reconsiders all aspects of sound practices during the entire silent film period. Based on extensive original research and accompanied by gorgeous illustrations, the book challenges the assumptions of earlier histories of this period in film and reveals the complexity and swiftly changing nature of American silent cinema. Contrary to received opinion, silent films were not always accompanied, nor were accompaniments uniform. Beginning with sound practices before cinema's first decade and continuing through to the more familiar sound practices of the 1920s, Rick Altman discusses the variety of sound strategies and the way early cinema exhibitors used these strategies to differentiate their products. During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies-from carnival-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years. But in the 1910s, film sound acquiesced to the demands of captains of the burgeoning cinema industry, who successfully argued that accompaniment should enhance the film's narrative and emotional content rather than score points by burlesquing or "kidding" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music-publication projects, and the development of a new style of film music. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema storytelling. For the first time, Silent Film Sound details the ways in which these diverse interests and industries came together to produce an extraordinarily successful audiovisual art.

Narrative is a powerful element of human culture, storing and sharing the cherished parts of our personal memories and giving structure to our laws, entertainment, and history. We experience narrative in words, pictures, and film, yet regardless of how the tale is told, story remains independent from the media that makes it concrete. Narrative follows humans wherever they travel and adapts readily to new forms of communication. Constantly evolving and always up-to-date, narrative is a necessary strategy of human expression and a fundamental component of human identity.

In order to understand human interaction, award-winning scholar Rick Altman launches a close study of narrative's nature, its variation in different contexts, and the method through which it makes meaning. Altman's approach breaks away from traditional forms of analysis, identifying three basic strategies: single-focus, dual-focus, and multiple-focus. Unpacking an intentionally diverse selection of texts, Altman demonstrates how these strategies function in context and illustrates their theoretical and practical applications in terms of textual analysis, literary and film history, social organization, religion, and politics. He employs inventive terminology and precise analytical methods throughout his groundbreaking work, making this volume ideal for teaching literary and film theory and for exploring the anatomy of narrative on a more general level.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.