Demonstrates good writing and clear, jargon-free prose. Anatomy of Film welcomes students to the art of film and film watching through lively prose that avoids film jargon.

Provides a solid foundation of film fundamentals. The organization starts with the basics, beginning with the terminology and key components of film. It then moves to discussions of genre and film analysis, and ends with basic concepts of film theory and criticism.

Offers rich examples from the past and present. Anatomy of Film illustrates film techniques with references to contemporary film alongside a solid core of examples from early cinema and classic Hollywood.

Covers genre in-depth. Rather than offering scattered examples of genre, Anatomy of Film includes a full chapter on genre that thoroughly examines musicals, westerns, crime films, film noir, combat films, comedies, women's films, documentaries, horror films, and science fiction.

TABLE OF CONTENTS 1. Understanding the Medium Film as a Hybrid Art The Creation of the Narrative Film Narrative Film Time-Space Relationships Movie Time The Diversity of the Medium Independent Film International Film Examining a Film Text 2. Graphics and Sound Graphics Logos Main Titles, Credits, Precredits, Sequences, and End Credits Opening Titles and End Titles Intertitles Subtitles Other Uses of the Printed Word Sound Actual and Commentative Sound Overlap Synchronization andAsynchronization Voice-Over Narration 3. Film, Space, and Mise-en-Scène The Shot Types of Shots Combining Shots: The Sequence The Linear Sequence The Associative Sequence The Montage Sequence From Shot to Shot Cuts Transitions Assembling the Shots Eisenstein's Theory of Montage Continuity Editing The Role of the Editor Mise-en-scène 4. Enhancing the Image: Color, Lighting, and Visual Effects Coloring the Image The Black-and-White Film The Color Film Lighting the Image Special Effects/Visual Effects (SFX, VFX) 5. Film Genres The Musical The Western The Crime Film Film Noir The Combat Film Comedies The Reflexive Film The Woman's Film Documentary The Horror Film Science-Fiction Understanding Genre 6. Film Subtext Mythic Associations The Transformation Myth in Cat People The Savior Myth in Shane The War of the Worlds in The Matrix trilogy Visual/Iconic Associations Humphrey Bogart as Screen Icon in High Sierra Al Pacino as Christ Figure in Serpico Jack Nicholson as Free Spirit and Louise Fletcher as Boss Lady in One Flew Over the Cuckoo's Nest Barbara Stanwyk as Phyllis Dietrichson in Double Indemnity Intellectual Associations History by Suggestion Film History by Suggestion Remaking the Original: The Shop Around the Corner, In the Good Old Summertime, You've Got Mail Musical Associations 7. The Film Director Auteurism Collaboration Variety Repetition Quotations Borrowings An Interview with Billy Wilder An Interview with Alan Alda 8. Film and Literature Literary Techniques The Flashback The Flashforward Point of View Film Adaptation Adaptations of Novels Jane Austen's Emma Virginia Woolf's Mrs. Dalloway Michael Cunningham's The Hours Adaptations of Plays Adapting Short Stories Daphne du Maruier's "The Birds" Philip K. Dick's "Minority Report" The Nature of Screenwriting 9. Film Analysis Casablanca (Michael Curtiz, 1942) Raging Bull (Martin Scorsese, 1980) The Truman Show (Peter Weir, 1998) A.I. Artificial Intelligence (Steven Spielberg, 2001) Crouching Tiger, Hidden Dragon (Ang Lee, 2001) Analyzing Films 10. Film Theory and Criticism The History of Film Criticism The Russians The Grammarians The Apologists The Realists The Auteurists The Mythographers The Semioticians Feminist Criticism Ideological Criticism Reception Theory The Reviewers Practical Criticism: Interpreting Citizen Kane The Film Historian The Auteurist The Myth Critic The Social Historian Guidelines for Film Criticism Appendix I: Films Discussed and Directed Appendix II: Sample Student Papers Appendix III: Online Resources and Citation Glossary of Motion Picture Terms Index