ABSTRACT
Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age.
Glyn Davis, Kay Dickinson, Lisa Patti and Amy Villarejo’s approach encourages readers to think about film holistically by looking beyond the textual analysis of key films. In contrast, it engages with other vital areas, such as financing, labour, marketing, distribution, exhibition, preservation, and politics, reflecting contemporary aspects of cinema production and consumption worldwide.
Key features of the book include:
- clear definitions of the key terms at the foundation of film studies
- coverage of the work of key thinkers, explained in their social and historical context
- a broad range of relevant case studies that reflect the book’s approach to global cinema, from Italian "white telephone" films to Mexican wrestling films
- innovative and flexible exercises to help readers enhance their understanding of the histories, theories, and examples introduced in each chapter
- an extensive Interlude introducing readers to formal analysis through the careful explication and application of key terms
- a detailed discussion of strategies for writing about cinema
Films Studies: A Global Introduction will appeal to students studying film today and aspiring to work in the industry, as well as those eager to understand the world of images and screens in which we all live.
TABLE OF CONTENTS
part Section 1|150 pages
Why Are Movies Made?
chapter Chapter One|24 pages
Cinema as Entertainment
chapter Chapter Two|30 pages
Cinema as Self-Expression
chapter Chapter Three|36 pages
Cinema as Informative
chapter Chapter Four|25 pages
Film and Politics
chapter Chapter Five|31 pages
Film as a Commodity
part Section II|84 pages
How Do Movies Get Made?
chapter Chapter Six|29 pages
Starting Points
chapter Chapter Seven|27 pages
Film Production Practices
chapter Chapter Eight|26 pages
Film Labor
part |28 pages
Interlude on Film Form
part Section III|138 pages
Where Do Movies Go?
chapter Chapter Nine|30 pages
Marketing
chapter Chapter Ten|29 pages
Distribution
chapter Chapter Eleven|24 pages
Exhibition
chapter Chapter Twelve|24 pages
Evaluative Contexts
chapter Chapter Thirteen|27 pages
The Longevity of Films
part Section IV|86 pages
How Are Movies Experienced?
chapter Chapter Fourteen|28 pages
Pleasure and Desire
chapter Chapter Fifteen|26 pages
Identification and Identity
chapter Chapter Sixteen|28 pages
Transformation
part |22 pages
Writing About Cinema