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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
- 英文
- 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
1.终于知道为什么这样大厚一本了，因为非常详细！！！ 我同时阅了北电的教材《外国电影史》和《中国电影史》，觉着在看这俩教材的同时，结合《世界电影史》一起看效果比较好，因为北电的教材相比起这本书还是比较泛，特别是欧洲电影史部分可着力参照下《世》，因为小点比较多...
评分陆陆续续花了几个月的时间看完全书，让我印象深刻的有1、战争，经济，政治，艺术，工业发展对于电影史的深刻影响，2、需要好好补充学习一下西方艺术史了，各种主义的了解基本一片空白，3、电影的发展一定离不开内容的制作，垂直整合应该是电影公司发展应有的形态，4、书真的很...
评分Chapter.07:大部头的一本书，也很贵。不过这样大的一个题目很难书写。 开始电影更多的是作为一门产业。 审查是发展到一定阶段的产物，而且还有自我的审查。 现在熟知或默认的一切技巧实际都经过了长时间的摸索。 “好莱坞的制片预算比其他任何国家都要高；进口一部美国电影通常...
评分Chapter.07:大部头的一本书，也很贵。不过这样大的一个题目很难书写。 开始电影更多的是作为一门产业。 审查是发展到一定阶段的产物，而且还有自我的审查。 现在熟知或默认的一切技巧实际都经过了长时间的摸索。 “好莱坞的制片预算比其他任何国家都要高；进口一部美国电影通常...
评分依然是在大学图书馆借的书 超级厚的一本 基本上我借的书都是没人看的，全部崭新的放在书架上 这本书因为内容很多 又有很多专业认识才会需要读的内容 所以我也只是粗粗浏览了一下 只有关于表现主义电影的那一段认真看了 不过忘了是因为这本书才去看《卡里加里博士的小屋》还是因...
用户评价
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
评分比较全的教科书，被海航给弄丢了～
评分趣味性和专业性均备的教科书。受益匪浅。
评分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
评分比较全的教科书，被海航给弄丢了～
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