Film History: An Introduction (Int'l Ed)

<H4>Preface<h3>Introduction: Film History and How It Is Done<h3>Why Do We Care About Old Movies?<h3>What do Film Historians Do?<h3>Our Approach to Film History<h3>History as Story<h2>Part One: Early Cinema<h3>1 The Invention and Early Years of the Cinema, 1880s-1904 <H4>The Invention of the Cinema<H4>Early Filmmaking and Exhibition<h3>2 The International Expansion of the Cinema, 1905-1912 <H4>Film Production in Europe <H4>The Struggle for the Expanding American Film Industry <H4>The Problem of Narrative Clarity <h3>3 National Cinemas, Hollywood Classicism and World War I, 1913-1919 <H4>The American Takeover of World Markets<H4>The Rise of National Cinemas<H4>The Classical Hollywood Cinema <H4>Small Producing Countries<h2>Part Two: The Late Silent Era, 1919-1929 <h3>4 France in the 1920s <H4>The French Film Industry after World War I <H4>Major Postwar Genres<H4>The French Impressionist Movement <H4>The End of French Impressionism <h3>5 Germany in the 1920s<H4>The German Situation after World War I<H4>Genres and Styles of German Postwar Cinema<H4>Major Changes in the Mid- to Late 1920s <H4>The End of the Expressionist Movement<H4>New Objectivity<H4>Export and Classical Style<h3>6 Soviet Cinema in the 1920s <H4>The Hardships of War Communism, 1918-1920<H4>Recovery under the New Economic Policy, 1921-1924<H4>Increased State Control and the Montage Movement, 1925-1930<H4>Other Soviet Films<H4>The Five-Year Plan and the End of the Montage Movement<h3>7 The Late Silent Era in Hollywood, 1920-1928 <H4>Theater Chains and the Structure of the Industry<H4>The Motion Picture Producers and Distributors of America<H4>Studio Filmmaking <H4>Films for African-American Audiences<H4>The Animated Part of the Program<h3>8 International Trends of the 1920s <H4>"Film Europe"<H4>The "International Style"<H4>Film Experiments Outside the Mainstream Industry<H4>Documentary Features Gain Prominence<H4>Commercial Filmmaking Internationally<h2>Part Three: The Development of Sound Cinema, 1926-1945 <h3>9 The Introduction of Sound <H4>Sound in the United States<H4>Germany Challenges Hollywood<H4>The USSR Pursues Its Own Path to Sound<H4>The International Adoption of Sound<h3>10 The Hollywood Studio System, 1930-1945 <H4>The New Structure of the Film Industry<H4>Exhibition Practice in the 1930s<H4>Continued Innovation in Hollywood<H4>Major Directors <H4>Genre Innovations and Transformations<H4>Animation and the Studio System<h3>11 Other Studio Systems <H4>Quota Quickies and Wartime Pressures: The British Studios<H4>Innovation within an Industry: The Studio System of Japan<H4>India: An Industry Built on Music<H4>China: Filmmaking Caught between Left and Right<h3>12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945<H4>The Soviet Union: Socialist Realism and World War II<H4>The German Cinema under the Nazis<H4>Italy: Propaganda versus Entertainment<h3>13 France: Poetic Realism, the Popular Front and the Occupation, 1930-1945 <H4>The Industry and Filmmaking during the 1930s<H4>Poetic Realism<H4>Brief Interlude: The Popular Front<H4>Filmmaking in Occupied and Vichy France<h3>14 Leftist, Documentary, and Experimental Cinema, 1930-1945 <H4>The Spread of Political Cinema<H4>Government- and Corporate-sponsored Documentaries<H4>Wartime Documentaries<H4>The International Experimental Cinema<h2>Part Four: The Postwar Era, 1946-1960s <h3>15 American Cinema in the Postwar Era, 1946-1960 <H4>1946/1947/1948<H4>The Decline of the Hollywood Studio System<H4>The New Power of the Individual Film<H4>The Rise of the Independents <H4>Classical Hollywood Filmmaking: A Continuing Tradition <H4>Major Directors: Several Generations<h3>16 Postwar European Cinema: Neorealism and its Context, 1945-1959 <H4>The Postwar Context<H4>Film Industries and Film Culture<H4>Italy: Neorealism and After<H4>A Spanish Neorealism?<h3>17 Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 <H4>French Cinema of the Postwar Decade <H4>Scandinavian Revival<H4>England: Quality and Comedy<h3>18 Postwar Cinema Beyond the West, 1945-1959 <H4>General Tendencies<H4>Japan<H4>Postwar Cinema in the Soviet Sphere of Influence <H4>People's Republic of China<H4>India<H4>Latin America <h3>19 Art Cinema and the Idea of Authorship <H4>The Rise and Spread of the Auteur Theory<H4>Authorship and the Growth of the Art Cinema<H4>Luis Buñuel (1900-1983)<H4>Ingmar Bergman (1918- )<H4>Akira Kurosawa (1910-1998)<H4>Federico Fellini (1920-1993)<H4>Michelangelo Antonioni (1912- )<H4>Robert Bresson (1907-1999)<H4>Jacques Tati (1908-1982)<H4>Satyajit Ray (1921-1992)<h3>20 New Waves and Young Cinema, 1958-1967<H4>The Industries' New Needs<H4>Formal and Stylistic Trends<H4>France: New Wave and New Cinema <H4>Italy: Young Cinema and Spaghetti Westerns<H4>Great Britain: "Kitchen Sink" Cinema<H4>Young German Film<H4>New Cinema in the USSR and Eastern Europe <H4>The Japanese New Wave<H4>Brazil: Cinema Nôvo<h3>21 Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s<H4>Toward the Personal Documentary <H4>Direct Cinema<H4>Experimental and Avant-garde Cinema <h2>Part Five: The Contemporary Cinema Since the 1960s <h3>22 Hollywood's Fall and Rise, 1960-1980<H4>1960s: The Film Industry in Recession<H4>The New Hollywood: Late 1960s-Late 1970s<H4>Opportunities for Independents<h3>23 Politically Critical Cinema of the 1960s and 1970s <H4>Political Filmmaking in the Third World<H4>Political Filmmaking in the First and Second Worlds<h3>24 Documentary and Experimental Film Since the Late 1960s <H4>Documentary Cinema <H4>From Structuralism to Pluralism in Avant-garde Cinema<h3>25 New Cinemas and New Developments: Europe and the USSR Since the 1970s <H4>Western Europe<H4>Eastern Europe and the USSR<h3>26 A Developing World: Continental and Subcontinental Cinemas since 1970New Cinemas, New Audiences<h4>African Cinema<h4>Filmmaking in the Middle East<h4>South America and Mexico: Interrupted Reforms and Partnerships with HollywoodBrazil<h4>India: Mass Output and Art Cinema<h3>27 Cinema Rising: Pacific Asia and Oceania since 1970<h4>Australia and New Zealand<h4>Japan<h4>Mainland China<h4>New Cinemas in East Asia<h2>Part Six: Cinema in the Age of New Media <h3>28 American Cinema and the Entertainment Economy: The 1980s and After<h4>Hollywood, Cable Television, and Home Video<h4>Concentration and Consolidation in the Film Industry<h4>Artistic Trends<h4>A New Age of Independent Cinema<h3>29 Toward a Global Film Culture<h4>Hollyworld?<h4>Regional Alliances and the New International Film<h4>Diasporic Cinema<h4>The Festival Circuit<h4>Video Piracy: An Alternative Distribution System<h4>Fan Subcultures: Appropriating the Movies<h3>30 Digital Technology and the Cinema<h4>Digital Tools for Filmmaking<h4>Distribution and Exhibition<h4>New Media, Film, and Digital Convergence