Film history an introduction pdf

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Editorial Reviews. About the Author. Kristin Thompson is an Honorary Fellow at the University Film History: An Introduction 3rd Edition, Kindle Edition. by. Film History: An Introduction, 3rd Edition PDF Download here. Request PDF on ResearchGate | Film History: An Introduction / | Bibliogr. s.

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Film History An Introduction Pdf

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Specialists working on national cinemas, from Russia, Italy, and the Nordic countries, were showing that there was far more diversity in world cinema than was dreamt of in orthodox histories.

We were part of this generation of revisionists. In the s and s Kristin concentrated on European and American silent film, studying both stylistic movements and film distribution.

Film History - An Introduction

She also studied particular filmmakers like Eisenstein, Godard, and Tati. I studied European and Japanese cinema. We spent years working on a reconsideration of the history of American studio film in collaboration with Janet Staiger. Writing The Classical Hollywood Cinema: Film Style and Mode of Production to we realized that asking fresh questions was both necessary and exciting. Everything, it seemed, needed to be rethought.

Most obviously, countries outside Europe and North America had been neglected. Our book was, I think, the first synoptic history in English to make use of statistical information on production and exhibition, and the numbers brought out a striking omission.

In the mids, the world was producing about feature films per year.

About 35 percent of these came from the United States and Western Europe. Sixty percent of feature films were made outside the western world and the Soviet bloc. Japan accounted for about 20 percent of the world total. The rest came from India, Hong Kong, Mexico, and other less industrialized nations. Such a stunning growth in film production in the developing countries is one of the major events in film history.

Traditional histories, and film history textbooks, had virtually ignored the bulk of film-producing nations. Only one or two major directors would step in from the shadows. Kurosawa summed up Japan, Satayajit Ray stood in for India.

The history of film was portrayed as Euro-American, with East Asia, Southeast Asia, South America, and Africa, appearing, if at all, in periods when westerners first got glimpses of their film culture. One would hardly know that there were many, and many great, Japanese filmmakers working in a long-standing tradition.

Documentary cinema, animation, and experimental film had attracted subtle historians like Bill Nichols , Mike Barrier , and P. Adams Sitney. In sum, we decided that we could write a plausible international history of cinema—not a be-all and end-all, but a new draft that reflected the rich variety of new findings and fresh perspectives. Like all historians, we had to be selective. More globally, we decided to concentrate on three lines of inquiry.

First, we studied changes in modes of film production and distribution. This inquiry committed us to a version of industrial history. How filmmaking was embedded in particular times and places, how it connected to local culture and national politics: these factors affected the ways films were made and circulated.

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