This new edition of Film History has been revised to include recent films, new examples, and updated comprehensive overviews of the rise of streaming services as purveyors of cinematic content as well as the massive disruptions of film production, distribution, and exhibition caused by the COVID-19 pandemic. It is a comprehensive global survey of film and its many genres - from drama and comedy to documentary and experimental - written by three of the discipline's leading scholars. Concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic and relevant points of reference than publicity stills. There are 100 new film clips with commentary in McGraw Hill Connect (R) - the web-based assignment and assessment platform that helps you connect your students to their coursework. Film History is a text that any serious film scholar - professor, undergraduate, or graduate student - will want to read and keep.

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell, Kristin Thompson and now, Co-Author, Jeff Smith's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the twelfth edition of Film Art delivers SmartBook, first and only adaptive reading experience currently available, designed to help students stay focused, maximize study time and retain basic concepts.

'A dense, challenging and important book.' Philip French Observer 'At the very least, this blockbuster is probably the best single volume history of Hollywood we're likely to get for a very long time.' Paul Kerr City Limits 'Persuasively argued, the book is also packed with facts, figures and photographs.' Nigel Andrews Financial Times Acclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations. Despite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. Such assumptions are neither natural nor inevitable; but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. They argue that each new technological development has served a function within an existing narrational system. The authors also examine how the Hollywood cinema standardized the film-making process itself. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry.

'A dense, challenging and important book.' Philip French Observer 'At the very least, this blockbuster is probably the best single volume history of Hollywood we're likely to get for a very long time.' Paul Kerr City Limits 'Persuasively argued, the book is also packed with facts, figures and photographs.' Nigel Andrews Financial Times Acclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations. Despite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. Such assumptions are neither natural nor inevitable; but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. They argue that each new technological development has served a function within an existing narrational system. The authors also examine how the Hollywood cinema standardized the film-making process itself. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry.

How 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.

"Classical works have for us become covered with the glassy armor of familiarity," wrote Victor Shklovsky in 1914. Here Kristin Thompson "defamiliarizes" the reader with eleven different films. Developing the technique formulated in her Eisenstein's Ivan the Terrible (Princeton, 1981), she clearly demonstrates the flexibility of the neoformalist approach. She argues that critics often use cut-and-dried methods and choose films that easily fit those methods. Neoformalism, on the other hand, encourages the critic to deal with each film differently and to modify his or her analytical assumptions continually.

Thompson's analyses are thus refreshingly varied and revealing, ranging from an ordinary Hollywood film, Terror by Night, to such masterpieces as Late Spring and Lancelot du Lac. She proposes a formal historical way of dealing with realism, using Bicycle Thieves and The Rules of the Game as examples. Stage Fright and Laura provide cases in which the classical cinema defamiliarizes its own conventions by playing with audience expectations. Other chapters deal with Tati's Les Vacances de Monsieur Hulot and Play Time and Godard's Tout va bien and Sauve qui peut (la vie).

Although neoformalist analysis is a rigorous, distinctive approach, it avoids extensive specialized vocabulary and esoteric concepts: the essays here can be read separately by those interested in the individual films. The book's overall purpose, however, goes beyond making these particular films more accessible and intriguing to propose new ways of looking at cinema as a whole.

In a book as entertaining as it is enlightening, Kristin Thompson offers the first in-depth analysis of Hollywood's storytelling techniques and how they are used to make complex, easily comprehensible, entertaining films. She also takes on the myth that modern Hollywood films are based on a narrative system radically different from the one in use during the Golden Age of the studio system.

Drawing on a wide range of films from the 1920s to the 1990s--from Keaton's "Our Hospitality" to "Casablanca" to "Terminator 2"--Thompson explains such staples of narrative as the goal-oriented protagonist, the double plot-line, and dialogue hooks. She domonstrates that the "three-act structure," a concept widely used by practitioners and media commentators, fails to explain how Hollywood stories are put together.

Thompson then demonstrates in detail how classical narrative techniques work in ten box-office and critical successes made since the New Hollywood began in the 1970s: "Tootsie," "Back to the Future," "The Silence of the Lambs," "Groundhog Day," "Desperately Seeking Susan," "Amadeus," "The Hunt for Red October," "Parenthood," "Alien," and "Hannah and Her Sisters." In passing, she suggests reasons for the apparent slump in quality in Hollywood films of the 1990s. The results will be of interest to movie fans, scholars, and film practitioners alike.

"This is the best all-around view of the Tolkien phenomenon. Thompson understands the books, she understands the movies--she also understands the money and the franchising. Best of all, she understands the people. Thompson offers cultural criticism of the highest order, examining one of the most significant shifts in contemporary popular media."--Tom Shippey, author of "The Road to Middle-earth"
"Reading these chapters has been an absolute pleasure. It's all so complex but so succinct. Thompson has managed to do what so many others have failed to do . . . in chapter one, she has explained how all the rights to LOTR bounced around, and were finally sorted so Peter Jackson could make the movie. I've never understood the complexities of how that worked until now!"--Judy Alley, Merchandising Coordinator, "The Lord of the Rings"
"I must say that Thompson has written the definitive study of Peter Jackson's work in creating this remarkable production entity."--Alex Funke, ASC, Oscar-winning Visual Effects Director of Photography, miniatures unit, "The Lord of the Rings"
"I had a wonderful time reading those chapters! There's so much I don't know about what went on--I am in awe of all the research Thompson has done. It is an extremely interesting read! There's so much there that I'd forgotten and I always wished there was a permanent record of many things that happened. Thompson's account of TORN's beginnings and how it functioned gets it absolutely right--more than that, Thompson captures how it felt to us at the time. Nobody else has managed to get enough of an understanding to do that."--Erica Challis ("Tehanu"), co-founder of TheOneRing.net

Film is an art form with a language and an aesthetic all its own. Since 1979, David Bordwell and Kristin Thompson's Film Art has been the best-selling and most widely respected introduction to the analysis of cinema. Taking a skills-centered approach supported by examples from many periods and countries, the authors help students develop a core set of analytical skills that will enrich their understanding of any film, in any genre. In-depth examples deepen students' appreciation for how creative choices by filmmakers affect what viewers experience and how they respond. Film Art is generously illustrated with more than 1,000 frame enlargements taken directly from completed films, providing concrete illustrations of key concepts. Along with updated examples and expanded coverage of digital filmmaking, the tenth edition also offers Connect for Film Art, a digital solution that includes multimedia tutorials along with web-based assignment and assessment tools.

Uno de los manuales mas importantes y exitosos de los ultimos tiempos, El arte cinematografico es tambien un esplendido resumen de todo lo que el estudioso y el aficionado deben saber sobre el cine antes de empezar a profundizar de verdad en la materia. Desde una descripcion de los elementos primordiales de la produccion cinematografica hasta una sucinta historia formal del cine, pasando por un vision extremadamente fenomenica del estilo a partir de la puesta en escena, el montaje, la fotografia y el sonido y ejemplos de analisis criticos de filmes, el libro no solo intenta erigirse en un completisimo mosaico sobre todas y cada una de las cuestiones que pueda suscitar el cine entendido como un arte autonomo, sino que ademas lo hace con un objetivo muy claro: como en El significado del filme, La narracion en el cine de ficcion y EL cine clasico de Hollywood, los otros tres textos de Bordwell este ultimo junto con Kristin Thompson y Janet Staiger tambien editados por Paidos, lo que debe importar no es tanto lo que dicen las peliculas como el modo en que lo dicen, o, en otras palabras, lo que Bordwell y Thompson llaman la forma cinematografica, absolutamente distinta de la literaria o de la pictorica. Pues bien: es el dominio de ese alfabeto lo que conseguiran todos aquellos que se adentren en las paginas de esta obra excepcional.

Derided as simple, dismissed as inferior to film, famously characterized as a vast wasteland, television nonetheless exerts an undeniable, apparently inescapable power in our culture. The secret of television's success may well lie in the remarkable narrative complexities underlying its seeming simplicity, complexities Kristin Thompson unmasks in this engaging analysis of the narrative workings of television and film.

After first looking at the narrative techniques the two media share, Thompson focuses on the specific challenges that series television presents and the tactics writers have devised to meet them--tactics that sustain interest and maintain sense across multiple plots and subplots and in spite of frequent interruptions as well as weeklong and seasonal breaks. Beyond adapting the techniques of film, Thompson argues, television has wrought its own changes in traditional narrative form. Drawing on classics of film and television, as well as recent and current series like "Buffy the Vampire Slayer," "The Sopranos," and "The Simpsons," she shows how adaptations, sequels, series, and sagas have altered long-standing notions of closure and single authorship. And in a comparison of David Lynch's "Blue Velvet" and "Twin Peaks," she asks whether there can be an "art television" comparable to the more familiar "art cinema."