(BQ) Part 1 book Film Art An introduction has contents: Film as art Creativity, technology, and business; the significance of film form, narrative form, cinematography; the relation of shot to shot editing, sound in the cinema; the shot Mise en scene.
DAVID BORDWELL KRISTIN THOMPS$N with a language and an aesthetic all its own Since 1979, Film Art by David Bordwell and Kristin Thompson has been the best-selling and widely respected introduction to the study of cinema Using a skills-centered approach, the authors strive to help students develop a core set of analytical tools that will deepen their understanding of any film, in any genre Film Art is generously illustrated with frame enlargements that enable students to view images taken directly from the completed films Building on these strengths, the eighth edition has been revised to be even more classroom friendly by introducing film techniques earlier in the text, followed by the chapters on different genres in film Stressing complete films instead of techniques in isolation, Chapters and introduce the idea of film form, and Chapters 4-8 explain individual techniques and how they contribute to the aesthetic film experience The Where to Go from Here section at the end of most chapters raises issues and provokes discussion lt also functions as a bibliographic source for chapterspecific issues and provides simple exercises to help students better comprehend film techniques Supporting the text, the accompanying tutorial CD-ROM helps clarify and reinforce specific concepts addressed in the text through the use of film clips (1-2 per chapter), a corresponding commentary for each film clip, and a quiz for students to test their understanding of the material This CD-ROM is packaged FREE with all new copies of the eighth edition of Film Art More Resources Online Visit the Online Learning Center at www.mhhe.com/filmartS for further resources for students and instructors Students will find quizzes, chapter outlines and objectives, lnternet exercises, discussion questions, and weblinks Students and instructors will also find information about the authors's new blog The authors's blog will be updated frequently and will feature film reviews, film festival reports, interviews, and ongoing discussions of varied film topics lsBN 978-0-07-353506-7 MHID 0-07-353506-0 Part ol lsBN 978-0-07-331027-5 MHID 0-07-331027-1 90000 rllililililllllililililll til]til]] McG row- Hi Il H ig her Ed ucation www.mhhe.com FILM ART AN INTRODUCTION EIGHTH EDITION David Bordwell Kristin Thompson U niuersity of Wisconsin Boston Burr Ridge, lL Dubuque, lA Madison, Wl New York San Francisco St Louis Bangkok Bogot6 Caracas Kuala Lumpur Lisbon London Madrid Mexico City Milan Montreal New Delhi Santiago Seoul Singapore Sydney Taipei Toronto ffi r,nnrr Education Film Art: An Introduction Published by McGraw-Hill, an imprint of The McGraw-Hill Companies, Inc., 122 I Avenue of the Americas, New York, NY 10020 Copyright @ 2008 All rights reserved No part ofthis publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written consent of The McGraw-Hill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning This book is printed on acid-free paper 34s67890QWV/QWVO987 ISBN: 978-0-07 -353506-'7 MHID: 0-07-353506-0 Vice president and Editor-in-chief: Emily Barrosse Publisher: Lisa Moore Sponsoring editor : G ina B o e d e ke r/C hr i s F re i t a g Developmental editor: Angela Kao Editorial assistant: Marley Magazine r Marketing manager: Pamela Cooper Managing editor: David Staloch Production editor; Mel Valentin Manuscript editor; Thomas Briggs Art director: Jeanne Schreiber Art manager: Robin Mouat Art editor: Katherine McNab Senior designer/cover designer: Cassandra Chu Text designer: Maureen McCutcheon Photo researcher: Sonia Brown Production supervisor: Tandra Jorgensen Media producer: Stacy Bentl-Dorgan Media project manager: Marc Mattson Composition: 10.5/12 Times by Professional Graphics, Inc Printing: 45# Lighthouse Matte HB Recycled, Quebecor World, Inc Cover photo: Ieft: Daniel Auteuil as Georges; right: Juliette Binoche as Anne from Sony Pictures Classics's Cach6 Photo courtesy of Les Films du Losange and Sony Pictures Classics All rights resewed @ 2005 Sony Pictures Entertainment Credits: The credits section for this book begins on page 482 and is considered an extension of the copyright page Library of Congress Cataloging-in-Publication Data Bordwell, David Film art : an introduction / David Bordwell, Kristin Thompson.-8th ed p cm Includes index ISBN-13: 978-0-07-353506-7 (pbk : alk paper) ISBN-10:0-07-353506-0 (pbk : alk paper) Motion pictures-Aesthetics I Thompson, Kristin, PN1995.8617 2008 791.43014c21 1950- II Title 92006046880 The Internet addresses listed in the text were accurate at the time of publication The inclusion of a website does not indicate an endorsement by the authors or McGraw-Hill, and McGraw-Hill does not guarantee the accuracy of the information presented at these sites www.mhhe.com uosduo\L raSou p1n uDa[ puD Ilanxplog {n[ ptn sluarDI.Lno au"ottnyT oI ABOUT THE AUTHORS 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 filnr fl'om the University of lowa His books include Tlte Films ofCerrl-Thetxlor Dreyer (University of Califbrnia Press, l98l), Narrutiott in the Fictiort Fihr (University of Wisconsin Press, 1985), O:t oncl tlte Poetics ofCirrenru (Princeton University Press, 1988), Making Meuning: Infbrence urul Rltetorit' in the Interytretutiort of Cinemu (Harvard University Press, 1989), The Cinemo ol Eisertstein (Harvard University Press, 1993), On the Historl'ofFilm Srr'/e (Harvard University Press 1997), and Planet Hong Kong: Poltular Cinenru uncl tlte Art rf Eutertaittrnent (Harvard University Press, 2000), Figures Trucecl in Light: On Cinentutic Stctgitrg (University of Califbrnia Press, 2005) and The Wat' Hollyu,ootl Tells It: Story untl Style irt Moclern Movies (University of Califbrnia Press, 2006) He hers won a University Distinguished Teaching Award and was awarded an honorary degrec by the Univelsity ol' Copenhagen Kristin Thompson is an Honorary Fellow at the University o1'Wisconsin-Madison She holds a master's degree in fihn from the University of lowa and a doctorate in film fronr the University of Wisconsin-Madison She has pLrblished Eisenstein's Iwtrt the Terrible: A Neofbrmulist Anull,sis (Princeton University Press, 198 I ), Erporting Erttertqinnrent: Americct in the Wtrltl Film Murket 1907-1934 (British Film Institute, 1985) Breuking the Gluss Arntor: Neofonnulist Filnt Anul ,-si.s (Princeton University Press, 1988) Wxtster Prcposes, Jeeves Disytses, or Le Mot Juste (James H Heineman, 1992), Storttelling in the Ne,,r' Hollywrncl: Urttlerstuntling Clctssicttl Nurrutive Tec'hrtique (Harvard University Press, 1999), Story-telling in Film anrl Televisiort (Harvard University Press, 2003), Herr Lubitsch Goes To Hollywoocl: Gennon uncl Anrcriccut Film cfter Wtrltl Wrrr (Arrrsterdarn University Press,2005),andThe Fntclo Frcnt'ltise: The Lorcl oftlte Rings ttntl Moclent Hollywood (University of Califbrnia Press, forthcoming 2001) In her spare time she studies Egyptology The authors have also collaborated on Filnt Hi.story: An Intntcluctrorr (McGrawHill, 2nd ed., 2003) and, with Janet Staiger, on The Clussit'ul Hollyy1,111s71 Cirtema: Film Style untl Mode of Procluction to 1960 (ColLrmbia University Press, 1985) Dimensions of FiLm Sound Space Diegetic (Story space) l Nonsimultaneous; sound from earlier in story than Sound simultaneous in External: dia[og, effects, music Sound marked as simultaneous with images put over images (e.9., narrator describing events in present tense) lnternal: thoughts of character heard Nonsimultaneous; sound Nondiegetic (Nonstory space) Sound marked as past put over images (e.9., sound of John Kennedy speech put over images of United States today) story with image from later in story than image of Source Sound flashback; image flashforward; sound bridge rmage Sound of flashforward; image flashback with sound continuing in the present; character narrates earlier events; sound 789 Sound marked as later put over images (e.9., reminiscing narrator of fhe Magnificent Ambersons) bridge comes from the space of the story almost invariably occurs at the same time as the image Like any other sort of diegetic sound, simultaneous sound can be either external (objective) or internal (subjective) l Sound earlier in story than image Here the sound comes from an earlier point in the story than the action currently visible onscreen A clear example occurs at the end of Joseph Losey's Accident Over a shot of a driveway gate, we hear a car crash The sound represents the crash that occurred at the beginning of the film Now if there were cues that the sound was internal-that is, that a character was recalling it-it would not strictly be coming from the past, since the ntemory of the sound would be occurring in the present Late rn The Sixth Sense, for example, the protagonist recalls a crucial statement that his young patient had made to him, causing him to realize something that casts most of the previous action in an entirely new light The boy's voice is clearly coming from the protagonist's mind at the moment of his recollection But in the scene from Accident, no character is remembering the scene, so we have a fairly pure case of a sonic flashback In this film, an unrestricted narration makes an ironic final comment on the action Sound may belong to an earlier time than the im age in another way The sound from one scene may linger briefly while the image is already presenting the next scene This common device is called a sound bridge Sound bridges of this sort may create smooth transitions by setting up expectations that are quickly confirmed, as in a scene change in Jonathan Demm e's The Silence of the Lambs (7 46, 47) Sound bridges can also make our expectations more uncertain In Tim Hunter's The River's Eclge, three high-school boys are standing outside school, and one of them confesses to having killed his girlfriend When his pals scoff, he says, "They don't believe me." There is a cut to the dead girl lying in the grass by the river, while on the sound track we hear one of his friends respond to him by calling it a qazy story that no one will believe For an instant, we cannot be sure whether a new scene is starting or we are seeing a cutaway to the corpse, which could be followed by a shot returning to the three boys at school But the shot dwells on the dead girl, and after a pause, 7.46 One scene of The Silence of the Lantbs ends with Clarice Starling on the telephone, as she mentions a location called the "Your Self Storage facility " 7.47 and her voice continues, right or"rtside central Baltimore" over the first shot of the next scene, the sign for the Your Self warehouse 790 CHAPTER Sor-rn,-l irr the Cinemir we hear, with a different soLrnd arnbience, "If you brought us " Then there is a cut to a shot of the three yor-rths walking throu-qh the woods to the river, as the same character continues, " all the way out here for nothin,_.g ." The friend's rel-l-lark abor"rt the crazy story belongs to arn earlier time than the shot of the corpse, and it is used as ern unsettling sound bridge to the new scene luter in.stort thurt irnuge NonsirnultaneclLls soLrnd nray also occur at ar time later than that depicted by the irnages Here we are to take the in-rages ars occuning in the past and the sound as occurring in the present or future A simple prototype occurs in nlany trial dranras The testilnony of a witness in the present is heard on the sound track, while the inrage presents ar Sourrcl flashback to an earlier event The seune eftect occLlrs when the film enrploys a relniniscing narrator., as in John Ford's HovvGreerr Wu:; Mv Vtlley Aside from a glirttpse at the beginning, we not see the protitgonist HLlw as rr man, only als a boy, but his naln'ation acconlparnies the bulk of the plot, which is set in the distant past Huw's present-time voice on the sound track creates a strong sense of nostalgia for the perst and constarntly reminds us of the pathetic decline that the characters will eventually suffer Since the late 1960s, it has becortre sornewhat c:onlnon for the sound frorn the next scene to begin while the images of the last one arre still on the screen Like the instances mentioned above, this trarnsitional device is ar soturcl briclge In Wim Wenders's Anteri('un F'rierrcL a nighttirne shot of a little boy riding in the back seatt of a car is accorrpar)ied by a harsh clackin-9 There is a cr"rt to a railroad station, where the tinretable board flips through its rnetal cards listing tirnes and destinations Since the sound over the shot of the boy comes from the later scene, this portion is l)onsimultaneous If the sound bridge isn't irnmediately identifiable, it can sr.rrprise or disorient the etudience, as in the Anrericutt F'rierttl transition A lnore reco-sinizable sonic lead-in can create n-role clear-cut expectations about what we will see in the next scene Federico Fellini's 8t/z takes place in ar town faunous for its health spa and natural sprirlgs, and several scenes harve shown an outdool'orchestra playing to entertairt the guests Midway thror"rgh the filnr, a scene ends with the closing of a window on a steanr bath Near the end of the shot, we hear atn orchestral version of the song "Blr-re Moon."'fhere is :.r cr-rt to eur orchestra playing the tune in the center of the town's shopping area Even before the new scene has estatblished the exact locale of the action, we can reasonably expect that the musical brid,_ee is bringing us back to the public life of the spa In principle, one coLlld also have a soLrnd.flu.slt-.forw,urtl The filrnrnaker could, say, use the sounds that belon-g with scene to accon-rpany the inrages in scene 2.ln practice, such at technique is alrnost unknown In Godard's Buncl ofOutsiclers, the sor-rnd of a tiger's roarr is heard as sound over, r-lot as sound off, several scertes betore we see the tiger A nrore arnbigLloLls cerse can be for-rnd in Godard's Cnrrtenrpt A husband and wif'e quarrel, and the scene ends with her swimming out to sea while he sits quietly on a rock fonnation On the sound track, we hear her voice, closely rniked, reciting a letter in which she tells him she has driven barck to Rome with arnother ntan Since the husband has not yet received the letter, and perhaps the wife has not yet written it, the letter and its recitation presumably come t}om a later p