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Kristin Thompson is an Honorary Fellow at the University of Wisconsin-Madison. She holds a master’s degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin-Madison. She has published Eisenstein's Ivan the Terrible: A Neoformalist Analysis (Princeton University Press, 1981), Exporting Entertainment: America in the World Film Market 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), Wooster Proposes, Jeeves Disposes, or, Le Mot Juste (James H. Heineman, 1992), Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Harvard University Press, 1999), Storytelling in Film and Television (Harvard University Press, 2003), Herr Lubitsch Goes to Hollywood: German and American Film after World War I (Amsterdam University Press, 2005), and The Frodo Franchise: The Lord of the Rings and Modern Hollywood (University of California Press, 2007). She blogs with David at www.davidbordwell.net/blog. She maintains her own blog, "The Frodo Franchise," at www.kristinthompson.net/blog. In her spare time she studies Egyptology.
David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate in film from the University of Iowa. His books include The Films of Carl Theodor Dreyer (University of California Press, 1981), Narration in the Fiction Film (University of Wisconsin Press, 1985), Ozu and the Poetics of Cinema (Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997), Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000), Figures Traced in Light: On Cinematic Staging (University of California Press, 2005), The Way Hollywood Tells It: Story and Style in Modern Movies (University of California Press, 2006), and The Poetics of Cinema (Routledge, 2008). He has won a University Distinguished Teaching Award and was awarded an honorary degree by the University of Copenhagen. His we site is www.davidbordwell.net.
- 电影
- 美国
- Film
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- 的
- 电影史
- 文艺理论
- 教科
Written by two of the leading scholars in film studies, Film History: An Introduction is a comprehensive, global survey of the medium that covers the development of every genre in film, from drama and comedy to documentary and experimental. As with the authors' bestselling Film Art: An Introduction (now in its eighth edition), concepts and events are illustrated with frame enlargements taken from the original sources, giving students more realistic points of reference than competing books that rely on publicity stills.
The third edition of Film History is thoroughly updated and includes the first comprehensive overviews of the impact of globalization and digital technology on the cinema. Any serious film scholar--professor, undergraduate, or graduate student--will want to read and keep Film History.
New Features
New final chapter, "Digital Technology and the Cinema," pulls together a wealth of recent research exploring the impact of new technology on film production, distribution, and publicity.
Revised organization splits the coverage of Latin America, the Asia-Pacific region, the Middle East, and Africa into two chapters, making the coverage of contemporary cinema in these regions more manageable.
More than 200 new film frames illustrate examples and concepts in the text providing students with more realistic points of reference, ensuring that what readers study on the page actually appears on the screen.
Updated examples and coverage throughout--particularly in Chapter 25 through 27--bring the text up to the present.
The authors' blog, Observations on film art and Film Art, includes a new essay on "Doing Film History" as well as weekly commentary on film from David Bordwell and Kristin Thompson. Visit: http://www.davidbordwell.net/blog/
具体描述
读后感
电影对于不同受众来说有着不同的意义，对于观众来说可能大多数时候他们都是看热闹，而对于它的制作者来说，他们要考虑的内在因素有很多。所谓写实主义手法，事实上往往是假的，平淡无奇的，而且能够看出不自然的痕迹。电影艺术重要的不是表现现实，而是通过想象力表达一定的意...
评分因为蛮厚的所以好像没什么人借，这本书对于电影的发展有蛮详细的叙述。不过如果只是喜欢看现代电影的人最好不要看，这本书适合专门研究电影的人，有一些专业术语和一些稍微繁琐的叙述（大概是翻译问题），不过是北大的未名出版社出版的，对于电影的学习很有好处。
评分终于看完了，整体还好，还有些瑕疵，希望这本书是最好的世界电影史读物。 855页，右栏，第二段，“第五代的领军人物”应该是“第四代”才对，这个表述电影史学好像也有争论。 856右栏，第二段，“姜文被禁止从事表演达七年”，应该为“五年”，编者注明有错应该改过来的。 942...
评分花了近三个月，终于将波德维尔的《世界电影史》第二版看完，由于本书体系庞大，卷帙浩繁，所以虽然看完一遍，也难说能够厘清本书的理论框架和学术体系，但是即使如此，还是收获颇丰，最起码形成了对世界电影发展史和当下的格局的印象。 从波德维尔这本电影史学著作中，我认为...
评分【媒体用稿，请勿转载】 为电影著史，是件吃力不讨好的事。 与诗歌、戏剧、文学、舞蹈、音乐，以及世人印象中的历史著作本身不同，电影诞生得是如此之晚，以至于其出生年月、流变过程、甚至细枝末节都清晰可考；而若要放手著述一本电影史，其最大的窘境可能还包括：大部分的...
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犹豫很久还是没有买的最爱的书之一，大部分章节内容可以倒背如流
评分趣味性和专业性均备的教科书。受益匪浅。
评分趣味性和专业性均备的教科书。受益匪浅。
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