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Film Art: An Introduction

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This fourth edition is a revision of the successful introduction to film appreciation and aesthetics. It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in co This fourth edition is a revision of the successful introduction to film appreciation and aesthetics. It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in colour, "Film Art" has been updated to include analysis of some of the most interesting films of recent years including "Raging Bull" and "Desperately Seeking Susan".


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This fourth edition is a revision of the successful introduction to film appreciation and aesthetics. It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in co This fourth edition is a revision of the successful introduction to film appreciation and aesthetics. It begins with an overview of film production, moves on to a consideration of the formal elements and techniques, covers film criticism and concludes with a brief section highlighting the key moments in film history. Illustrated with over 500 frame enlargements, many in colour, "Film Art" has been updated to include analysis of some of the most interesting films of recent years including "Raging Bull" and "Desperately Seeking Susan".

30 review for Film Art: An Introduction

  1. 4 out of 5

    Mahdi Lotfabadi

    این کتاب مثل تاریخ سینما فوقالعاده بود... سرراست، خلاصه و گفتن خیلی از مقدمات... چیزی که بیشتر از هر چیز من رو توی این کتاب جذب کرد نگاه نقادانهای بود که شاید اصلا باهاش آشنایی نداشته باشیم... نگاه بوردول توی این کتاب نه نقد خوبی یا بدی یک فیلم که بررسی عملکرد سبک و محتوای اون فیلمه... در کل کتاب خیلی جالبی بود این کتاب مثل تاریخ سینما فوق‌العاده بود... سرراست، خلاصه و گفتن خیلی از مقدمات... چیزی که بیشتر از هر چیز من رو توی این کتاب جذب کرد نگاه نقادانه‌ای بود که شاید اصلا باهاش آشنایی نداشته باشیم... نگاه بوردول توی این کتاب نه نقد خوبی یا بدی یک فیلم که بررسی عملکرد سبک و محتوای اون فیلمه... در کل کتاب خیلی جالبی بود

  2. 4 out of 5

    Spike Gomes

    Found this book in a pile of discarded books and picked it up because the cover was compelling, and I know nothing about the art and science of movie-making. I'm rather glad I did because this was an excellent introduction into the field, with a nice balance of both application and theory and wide range of content covered from mainstream Hollywood to obscure experimental films, and from silent classics to modern digitally recorded cinema. Through reading this book I've discovered why modern movie Found this book in a pile of discarded books and picked it up because the cover was compelling, and I know nothing about the art and science of movie-making. I'm rather glad I did because this was an excellent introduction into the field, with a nice balance of both application and theory and wide range of content covered from mainstream Hollywood to obscure experimental films, and from silent classics to modern digitally recorded cinema. Through reading this book I've discovered why modern movies leave me cold, compared to past ones; something I've never really really been able to put my finger on in a technical way. Now I know it's because the pace of cutting between cameras has doubled over the past few decades, leaving everything, even non-action movies, having something of a frenetic ADD sort of feel. Also, modern movies are made with television and DVD releases in mind, making camera work focus more on close-ups and a set form of easily partitioned scenes rather than grand-tableau long-shots and theatrically inspired middle shots. Now I know this, I have better idea of what in mind to look for when sorting out new releases to view. While I'm not particularly interested in film criticism, either consuming it or producing it; and this book is geared towards a pedagogical inculcation of formalist principles of film criticism, there is much that everyone who is interested in watching movies, or making movies can glean from this textbook. Even if you're just making youtube videos for fun, reading this would give you a lot of technical aesthetic tools for making your videos seem a lot more polished with no extra time or money cost other than changing the way you handle your cameras and your lighting. If making an small indie movie is your goal, well, the chapter on the business end of movie making and production will likely put something of a reality check on your ambitions (take the time and money you think you will need and double it). Even I didn't know how many specialists skills it takes to make a movie to completion and then distribute it.

  3. 4 out of 5

    Achie

    Film Art was my first book on film studies. I was not yet an avid film students by then, but this book captured my interest so deep as then it made me impatiently waiting for my future film-study classes. It's not a manual book of film techniques. Yet it does encompass that issues from an artsy point of view. This book discusses elements of films (e.g., shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, and many more), precisely on how they constitue the overall l Film Art was my first book on film studies. I was not yet an avid film students by then, but this book captured my interest so deep as then it made me impatiently waiting for my future film-study classes. It's not a manual book of film techniques. Yet it does encompass that issues from an artsy point of view. This book discusses elements of films (e.g., shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, and many more), precisely on how they constitue the overall look as well as meaning of a film. The vast explanations on every chapters are very informative for freshies in film study as they can understand film and the elements deeper than common viewers. I think, after readers dwell on this book, they won't see the film as they were. Their mind will questioned and analyzed the effectiveness and the appropriateness of the elements on films. In short, when I was a film student I found this book helped me a lot in shaping my film's critical skills. It was a great companion while I worked trough my weekly film journals.

  4. 4 out of 5

    محمد فرد

    سلام. کتاب خوبی بود. خوب به این معنی که تقریبا همون طور که خود کتاب ادعا کرده بود با دانش اندک سینمایی هم می شد باش ارتباط برقرار کرد و این به نظرم مطابق هدف کتاب بود و در نتیجه خوب بود. و اینکه کتاب یه دانش پژوه حوزه ی سینمایی رو راه مینداخت و نثر خوبی هم داشت. روند خوب و مثال هایی که اورده بود. همگی کمک می کرد تا مطالبش عمیق تر و بهتر توی ذهن جا بیافته. بهش پنج ندادم چون توی توضیح سبک ها با اینکه گسترش خوبی داشت اما عمق مطلوب رو نداشت. البته کتاب گفته بود که یه در ورودی برای سینماست اما به نظرم می سلام. کتاب خوبی بود. خوب به این معنی که تقریبا همون طور که خود کتاب ادعا کرده بود با دانش اندک سینمایی هم می شد باش ارتباط برقرار کرد و این به نظرم مطابق هدف کتاب بود و در نتیجه خوب بود. و اینکه کتاب یه دانش پژوه حوزه ی سینمایی رو راه مینداخت و نثر خوبی هم داشت. روند خوب و مثال هایی که اورده بود. همگی کمک می کرد تا مطالبش عمیق تر و بهتر توی ذهن جا بیافته. بهش پنج ندادم چون توی توضیح سبک ها با اینکه گسترش خوبی داشت اما عمق مطلوب رو نداشت. البته کتاب گفته بود که یه در ورودی برای سینماست اما به نظرم می شد با شصت صفحه بیشتر شدنِ کتاب، عمق مطلبوی هم به این مطالب داد. با تشکر از نویسنده و مترجم خوبش.

  5. 5 out of 5

    Alborz Taheri

    برای شروع و برای کسانی که میخوان فنّیتر سینما را یاد بگیرن کتاب خوبیه. فقط یک مشکل داره اونم اینکه با تکنولوژی روز همگام نیست. ولی خوندنش خیلی لذّت بخشه. و یک نکته؛ اگر تاریخ سینما را از همین نویسنده میخوایید بخوانید اوّل این کتاب را بخوانید، چون اصطلاحات را بیشتر توضیح داده است. برای شروع و برای کسانی که می‌خوان فنّی‌تر سینما را یاد بگیرن کتاب خوبیه. فقط یک مشکل داره اونم اینکه با تکنولوژی روز همگام نیست. ولی خوندنش خیلی لذّت بخشه. و یک نکته؛ اگر تاریخ سینما را از همین نویسنده می‌خوایید بخوانید اوّل این کتاب را بخوانید، چون اصطلاحات را بیشتر توضیح داده است.

  6. 5 out of 5

    Jay Amari

    Anyone with an interest in film or who likes to watch movies with an understanding of the processes that involve filmmaking, will get something from this excellent edition of a text book that has become the staple of film studies in a formal educational setting. Film Art: An Introduction (Eighth Edition) by David Bordwell and Kristin Thompson is an excellent updating of a great film resource text. I was first introduced to first edition of the text way back in the late 1970s when it was smaller Anyone with an interest in film or who likes to watch movies with an understanding of the processes that involve filmmaking, will get something from this excellent edition of a text book that has become the staple of film studies in a formal educational setting. Film Art: An Introduction (Eighth Edition) by David Bordwell and Kristin Thompson is an excellent updating of a great film resource text. I was first introduced to first edition of the text way back in the late 1970s when it was smaller and contained fewer color pictures. The new Eighth Edition has color plates throughout, updated filmography and a CD-ROM disc addition, what the book blurb touts as “text-specific Tutorial CD-ROM with video clips”, that greatly enhances the depth and applicability of the subject for the cineaste, the casual reader, and the student. About letter-size 11 inches by 8 and a half, but with the glossy pages containing a very generous selection of film stills, weighing in at 4 pounds (this is more than some of the new laptops), it is substantial but the size makes holding papers in between the pages quite convenient. Comprehensive in scope, and structured to cover the industry as well as aesthetic concerns of film and newer media developments in video, Film Art is set up in six parts with a total of 12 chapters. Part One, Film Art and Filmmaking, Chapter 1 “Film as Art: Creativity, Technology, and Business”, is a good introduction in which the authors talk about the basic activity surrounding film. An overview of the major film companies and distributors as well as some perspective on the collaborative creativity involved from many diverse areas such as financing, marketing, and art direction, planning, and others, complete this section. What holds the viewer interested in Comparative Literature or a Post-Modernist evaluation of Film is primarily attended to in Part Two, Film Form, in which the authors discuss the principles a filmmaker uses to construct a film. Chapter 2 “The Significance of Film Form”, covers form of a film and the significance of how it compares against the content in a film, and ultimately what those elements mean. There is a breakdown of the structural properties of The Wizard of Oz, as an example, and how the elements used in the movie are designed to create meaning. Chapter 3 “Narrative as a Formal System”, covers what narrative is, ultimately defining the concept as a cause-and-effect chain of events occurring over a period of time. The authors talk about the films like Citizen Kane and others that manipulate time duration, and causality to create meaning. My favorite section is Part Three Film Style, because it covers a number of aesthetic elements and gives good examples that exist in current films and examples as well from historical artifacts. In Chapter 4 “The Shot: Mise-en-scene”, the Bordwell and Thompson talk about the elusive French term and what it encompasses, covering two of my favorite films His Girl Friday, and 81/2. The section also discusses camera set ups and how the actor, and virtually everything that the camera sees is part of the mise en scene. Chapter 5 “Cinematography” covers details of focal length, lens selection, and lab work like ‘pushing’ film in development to get more contrast, and is well explicated for the photographer who used film stock and development procedures to hone his craft. My interest is in putting together a complete visual picture and in Chapters 6 and 7 Bordwell and Thompson cover these elements clearly. In Chapter 6 “The Relation of Shot to Shot: Editing”, covering LA Confidential, The Birds, The Maltese Falcon and others, the authors talk about how editing shots together can create a pace and effect the viewer. This section has the most primal value to the film viewer who ultimately looks to the movie itself when analyzing film. I believe that the visual medium of filmmaking holds the meaning that so much theory attempts to uncover- Bordwell and Thompson seem to be at their strongest when evaluating purely visual value of movies aside from the theory. One of the most overlooked elements in student films is discussed in Chapter 7 “Sound and the Cinema”, in which the authors talk about sound bridges, how sound can add focus to scene and in particular how sound in Jackie Brown adds meaning to the film. Another of my favorite sections is Chapter 8 “Style as a Formal System” which covers how many combined elements such as mise-en-scene, cinematography, editing and sound are combined by a filmmaker to develop a style. The authors talk about how style is plastic to the filmmaker and what it means to the viewer. Again the elusive elements are well highlighted by the authors as they draw on visual examples to make their points. Part Four, Types of Films, covering Film Genres and Documentary, Experimental, and Animated Films, explicating what Genre is, and how to analyze a genre is a good section for the archivist or one who is interested in classifications. The section covers the Western, Horror, Musical and talks about the ultimate social function of genre. Part Five Critical Analysis of Films, Chapter 11, “Film Criticism: Sample Analyses”, with an Appendix on page 431 which covers how to organize your thinking in terms of writing about Film, with fine sample writing. I have turned to this section time and again to get a good understanding of how to think through a movie in terms of lighting, acting, art direction, camera movement, cinematography, direction and other possible discussion points such as political themes, feminist point of view, or even marketing concepts. Bordwell and Thompson excel in putting forth fine ideas, and generously, for the reader. Part Six Film History, Chapter 12, “Film Art and Film History” looks at early cinema the Hollywood Cinema, Soviet Montage, French New Wave, Italian Neorealism and others and as an overview, covers many of the historical movements of film. This chapter also contains facts concerning the Asian market. Every chapter concludes with “Where to go From Here” a selection of current places to expand one’s understanding and education of film and movie-making industry. Page 472 at the end of the book continues this pattern with additional available texts from General through to French and Italian and up to the New Hollywood and Independent Filmmaking, and Contemporary Hong Kong Cinema. The CD-ROM included covers many films with sample quizzes that allow the viewer to really just dust off his understanding of certain films and get in synch with the lexicon that the authors utilize to communicate film art. This is a great buy for anyone who love movies.

  7. 5 out of 5

    Qt

    Fun to read :-) Lots of illustrations too, and it enhanced my appreciation of movies :-)

  8. 4 out of 5

    Nima Kohandani

    Really Helpful...

  9. 4 out of 5

    Victor Morosoff

    Je me sens comme à la fin d'un long voyage parsemé de découvertes dorées ; mais non, je viens juste de finir l'impresssionnant tome de Bordwell (et de Kristin Thompson) consacré au film. Je pense reconnaître en Bordwell l'image d'un enseignant irréprochable - généreux et minutieux, ayant une exigeance entêtée pour la globalité. Film Art (L'art du film, en français, à plus de 800p.) est une épopée charmante qui ne peut que fasciner. 5/5

  10. 5 out of 5

    Astrid Vingerhoets

    This author is never boring and has great educational skills. Thanks for teaching me so much about film history!

  11. 5 out of 5

    Nariman Abdi

    یکی از مهمترین و معتبرترین کتابها برای کسانی که به مطالعات حوزه سینما علاقه مند هستند. یکی از مهم‌ترین و معتبرترین کتاب‌ها برای کسانی که به مطالعات حوزه سینما علاقه مند هستند.

  12. 4 out of 5

    Manda Keeton

    Film Art presented a struggle for me. While the textbook has great organization and breaks up the concepts into thoughtful sections, I have personally not viewed many of the films that the authors focus on in their analysis portion of the text. As a result, the analysis was often difficult to fully appreciate and understand due to lack of reference. I imagine if the reader was familiar with the films included in the textbook, the experience of reading it would be much more beneficial. For others Film Art presented a struggle for me. While the textbook has great organization and breaks up the concepts into thoughtful sections, I have personally not viewed many of the films that the authors focus on in their analysis portion of the text. As a result, the analysis was often difficult to fully appreciate and understand due to lack of reference. I imagine if the reader was familiar with the films included in the textbook, the experience of reading it would be much more beneficial. For others like me, the authors include many stills to emphasize their point which was invaluable. Overall, the language is accessible and provides a reasonable introduction to thinking more deeply about film study.

  13. 4 out of 5

    Rasha

    يتحتم عليّ الكتابة عن هذا المرجع استغرق ثلاثة أشهر قراءة يوجد به كمّ غزير من المعلومات في كل صفحة من صفحاته الكتاب ليس عن تحليل أو نقد الأفلام ولكن النقطة الأساسية التي يظل يكررها مراراً وتكراراً هي "الأختيارات الأبداعية التي يتخذها مخرج الفيلم والقائمين بالعمل عليه في كل جانب من جوانبه الفنية سواء سردية أو تقنية بما يخدم وحدة العمل" الكتاب مُقسم إلي ستة أجزاء وكل جزء مقسم بدوره الي فصول فرعية وهكذا الجزء الأول : فن الفيلم وعملية صناعة الفيلم الجزء الثاني : هيئة الفيلم الجزء الثالث : أسلوب الفيلم يتحتم عليّ الكتابة عن هذا المرجع استغرق ثلاثة أشهر قراءة يوجد به كمّ غزير من المعلومات في كل صفحة من صفحاته الكتاب ليس عن تحليل أو نقد الأفلام ولكن النقطة الأساسية التي يظل يكررها مراراً وتكراراً هي "الأختيارات الأبداعية التي يتخذها مخرج الفيلم والقائمين بالعمل عليه في كل جانب من جوانبه الفنية سواء سردية أو تقنية بما يخدم وحدة العمل" الكتاب مُقسم إلي ستة أجزاء وكل جزء مقسم بدوره الي فصول فرعية وهكذا الجزء الأول : فن الفيلم وعملية صناعة الفيلم الجزء الثاني : هيئة الفيلم الجزء الثالث : أسلوب الفيلم الجزء الرابع : الأنواع الفيلمية الجزء الخامس : التحليل النقدي للأفلام الجزء السادس : فن الفيلم وتاريخ الفن السينمائي وهذا الجزء لا يقل أهمية عن نظرائه من باقي الأجزاء لأن الأختيارات الأبداعية التي يتخذها صانع الفيلم اليوم ما هي إلا أمتداد لخيارات وقرارات تبناها مبدعي وفناني الحُقب والحركات الفنية السابقة هذا المرجع سيفيد كلاً من الدارس والمتذوق للفن السينمائي يحتاج الي اكثر من قراءة لأستيعاب كل ما ذُكر فيه

  14. 5 out of 5

    Montana

    This book may be a text book but its really easy to read and I learned a lot from doing so. I am an arts student at university and this semester we are studying video art, this was the first book on our reading list and I almost read it cover to cover! I found it incredibly helpful to understand the basics on film art and how video is made. It was also a fantastic resource to look back on when I completed my assignments. If you are studying video or would like to gain a basic understanding for t This book may be a text book but its really easy to read and I learned a lot from doing so. I am an arts student at university and this semester we are studying video art, this was the first book on our reading list and I almost read it cover to cover! I found it incredibly helpful to understand the basics on film art and how video is made. It was also a fantastic resource to look back on when I completed my assignments. If you are studying video or would like to gain a basic understanding for the art I would highly recommend this book!

  15. 4 out of 5

    Dûr

    Read for school Gives you a nice repertoire for analysing the structure of different kinds of cinema, from the very beginning with the Lumière's train, up through the silent era and beyond, including experimental films, animated films, and documentaries. What bothers me most about the book, is that it's a textbook that happens to be about a subject I like. As a result, it's a bit bland in its descriptions, especially if you know some basic things about the art before you delve in. Bordwell/Thomps Read for school Gives you a nice repertoire for analysing the structure of different kinds of cinema, from the very beginning with the Lumière's train, up through the silent era and beyond, including experimental films, animated films, and documentaries. What bothers me most about the book, is that it's a textbook that happens to be about a subject I like. As a result, it's a bit bland in its descriptions, especially if you know some basic things about the art before you delve in. Bordwell/Thompson usually go in depth about _one_ film every chapter, and use it as an example of the chapter's subject. It's worth noting that if I hadn't seen the film (like Hitchcock's 'The Birds', which was used as one point of analysis), it was practically useless, even with the in-depth plot recap and pictures to follow along. And it's understandable, the mediums beauty lies in the medium, which cannot be re-imagined in book-form. Therefore, I think the authors should have removed some of the padding catering to analysis of the films and just outright state that they expect you to have seen the film to able to follow along, it would have made the pacing of the book that much better. I just ended up skimming through the boring parts anyway, but I don't like it, because I become fearful that I miss something important. My favourite things about the book, was that it was open for different interpretations of film – there wasn't a right or a wrong way. What they did, was to help you along the way by explaining the general tools films use in regards to convey a narrative in a way the audience finds natural, and pulls in examples of directors who deliberately does the opposite. It is clear that the authors holds an enormous library of film history within their minds, which makes you pick up several good film suggestions, as well as you are likely to read about some of your favourites. I'm a bit disappointed they dedicated so much time to golden-era Hollywood films, as I'm not generally a fan of them myself, but it's understandable as they laid the foundations for most of the narrative feature films you see to this day. As a textbook, it is useful, but if I were to read about film in my spare time, I think I would have searched for something a bit more unique and opinionated personally.

  16. 4 out of 5

    Raul Duarte

    Film Art: An Introduction es un libro de David Bordwell y Kristin Thompson que como bien dice el título, nos habla en más de 500 páginas sobre el cine de una manera más analítica. Tiene un formato parecido a un libro de textos, de hecho es muy posible que sea usado en escuelas de cine. Aun así cualquiera lo puede leer ya que está escrito de una manera muy sencilla (todo el tiempo dan ejemplo y explican a que se refieren con cada término) e incluso alguien quien no sabe nada de cine lo puede disfr Film Art: An Introduction es un libro de David Bordwell y Kristin Thompson que como bien dice el título, nos habla en más de 500 páginas sobre el cine de una manera más analítica. Tiene un formato parecido a un libro de textos, de hecho es muy posible que sea usado en escuelas de cine. Aun así cualquiera lo puede leer ya que está escrito de una manera muy sencilla (todo el tiempo dan ejemplo y explican a que se refieren con cada término) e incluso alguien quien no sabe nada de cine lo puede disfrutar, es un excelente punto de partida y no se siente para nada pesado. Los temas que cubre son sobre la producción cinematográfica, las formas narrativas, el estilo cinematográfico (donde nos habla sobre como lo conforma la puesta en escena, los planos, el encuadre, el montaje & sonido) nos da análisis críticos de películas (nos va poniendo ejemplo de análisis completos de películas no sólo clásicas si no también de genero alternativo, documental, animación, de ideologías, y nos explica como podemos escribir nuestro propio análisis) y por último nos habla de la historia de cine desde sus comienzos hasta el nuevo cine alemán. Me gusta como nos da ejemplos todo el tiempo para ilustrar los puntos. Para los ejemplos suelen ser fotogramas de películas que podemos ir viendo durante todo libro. Lo recomiendo si: -Quieres estudiar cine o estudias cine. -Quieres saber más sobre cine pero no sabes por donde empezar. -Quieres disfrutar más de las películas. Es un increíble libro para no sólo estudiantes sino para el público en general.

  17. 4 out of 5

    Anjan

    Very informative, but could be better organized. I learned a lot, but unless I take notes and then sort the Information it is unlikely to stick to my brain because the organization isn't intuitive. This text needs more headings and signaling of what will be discussed where. paragraphs will contain two partially related Ideas separated by a string of examples. you have to work harder to get the relevant information that you would have to work if the book was better organized. I bought a used copy Very informative, but could be better organized. I learned a lot, but unless I take notes and then sort the Information it is unlikely to stick to my brain because the organization isn't intuitive. This text needs more headings and signaling of what will be discussed where. paragraphs will contain two partially related Ideas separated by a string of examples. you have to work harder to get the relevant information that you would have to work if the book was better organized. I bought a used copy of an old edition of this textbook because it was cheap. two years later, you can probably pick up a later edition and it will likely be worth the update histories

  18. 4 out of 5

    Alyce Hunt

    Despite the width of this volume, I devoured it in two sittings. There were some sections that I could skip, so this isn't a review of the ENTIRE book... But if you are studying - or have an interest in - film, this is a great crash course in exactly how it works. Featuring in-depth media terminology, more screencaps than you can count and a brief recap of the history of well, Bordwell and Thomson excel themselves.

  19. 5 out of 5

    Nguyễn Phát

    Dù được viết từ điểm nhìn lấy Hollywood làm trung tâm, hai tác giả vẫn cố gắng tạo nên một cái nhìn bao quát thế giới điện ảnh. Kết cấu mục lục ở những ấn bản về sau được sắp xếp lại hợp lí hơn. Về bản tiếng Việt thì mình rất trân trọng nỗ lực của nhóm dịch giả và Dự án Điện ảnh, nhưng mà thiệt tình là lỗi quá nhiều.

  20. 5 out of 5

    Al Capwned

    Now, that's an introduction! A little bit of everything you need to know about the art of cinema. I only wish it had more non-Hollywood information.

  21. 4 out of 5

    Miriam Jacobs

    Apart from being a little dated this is an excellent textbook. I am using it mostly to help order main ideas for an introductory course in film.

  22. 4 out of 5

    Serhat Deniz

    Sinema dersleri basucu kitabi

  23. 4 out of 5

    侯 二六

    資料豐富,且無論原版或譯本都會與時俱進:前幾版較可惜因譯者對動畫瞭解不足,許多台灣正式譯介、為動畫迷所熟知的動畫,都隨便安個譯名,而不是用正式譯介的動畫名稱,此問題在向出版社反映過後,新版已有改進。

  24. 4 out of 5

    Babakwanted

    شگفت انگیز و عالی

  25. 5 out of 5

    Mariel Ozoria

    As an introduction to reading and analyzing film, pretty darn good.

  26. 5 out of 5

    Jarvo

    I watch a lot of films (and the amount seems to be going up and up), but I've learnt about them as I go and reading the market leading textbook seemed to be a good way of putting it altogether, and identifying any holes. And so it pretty much proved to be. Bordwell provides an excellent overview, especially in a long central section on technique. Here four chapters deal with: mise-en-scene (roughly speaking what you choose to put in front of the camera, including actors); photography; editing, a I watch a lot of films (and the amount seems to be going up and up), but I've learnt about them as I go and reading the market leading textbook seemed to be a good way of putting it altogether, and identifying any holes. And so it pretty much proved to be. Bordwell provides an excellent overview, especially in a long central section on technique. Here four chapters deal with: mise-en-scene (roughly speaking what you choose to put in front of the camera, including actors); photography; editing, and sound. Its easy to imagine film as being a fairly straightforward medium where you put on film what has been put in front of you. When you are actually contemplate what is involved you see that it is in fact possibly the most highly wrought of all the arts with a bewildering away of choices which the filmmaker has to make, certainly far too much to take in whilst viewing. Other chapters are also excellent although I found the final chapter on film history somewhat perfunctory, and the chapter on documentary and experimental film over long (although useful for what it reveals about conventional, narrative cinema). A quick word about form. This is the first textbook I've read in a long time, and I was impressed by its utility - its ability to select and explain. Brand new this is an expensive book, but the ability to buy it at far less than full price are legion. And if you choose one of these you get a lot of book for your money, not least probably around 1,000 film stills, many in colour. Without some people having to buy the full price version I doubt the whole thing would be viable.

  27. 4 out of 5

    Catherine Woodman

    I have been reading this book out loud to my freshman in college, who as a result of the introductory course in film analysis that this book is the reading for has decided that film study is not for him--but I have to say that there is a lot to be learned from this book, and one of the great things about it is that it gives specific examples of various film techniques from movies that you can watch, and then read the explanation. The book includes examples from over 200 movies, so watching them I have been reading this book out loud to my freshman in college, who as a result of the introductory course in film analysis that this book is the reading for has decided that film study is not for him--but I have to say that there is a lot to be learned from this book, and one of the great things about it is that it gives specific examples of various film techniques from movies that you can watch, and then read the explanation. The book includes examples from over 200 movies, so watching them all would be a challenge, but it does have two advantages. One is that several chapters have a 2-4 page analysis based on a single film (one of which is 'Citizen Kane', another is a Buster Keaton movie available in full on YouTube, so you are getting a glimpse at some classic material), so you do not necessarily have to be in a class room to learn how to approach film study. It is pretty well written, as text books go, and I am surprised to say that I would recommend it to anyone wanting to think a bit more deeply about the movies that they are watching.

  28. 5 out of 5

    Chuck Kollars

    Reread (mainly because I was looking for something and the index is not all that comprehensive [and besides, what I was looking for turned out to be in a different book by the same author]) Comprehensive, un-stuffy and painless introduction to the world of films. All the various techniques and how they've been (maybe still are) used. (note I read a _very_ early [possibly "obsolete"] edition of this book - I doubt it made any difference though, as while later editions seemingly expand the content Reread (mainly because I was looking for something and the index is not all that comprehensive [and besides, what I was looking for turned out to be in a different book by the same author]) Comprehensive, un-stuffy and painless introduction to the world of films. All the various techniques and how they've been (maybe still are) used. (note I read a _very_ early [possibly "obsolete"] edition of this book - I doubt it made any difference though, as while later editions seemingly expand the content and include some of the very recent techniques, the overall organization and thrust is apparently very much the same)

  29. 4 out of 5

    Alisha Brook

    Title: Film Art - An Introduction Series: - Author: David Bordwell & Kristin Thompson Genre: Informational Rating: 4 stars This textbook on film art isn't as comprehensive as some, but it is as the title suggests: an introduction. It discusses elements of films such as shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, etc. It provides many colour images to assist with learning, and it is set out in clearly structured format which makes it very easy to read. It h Title: Film Art - An Introduction Series: - Author: David Bordwell & Kristin Thompson Genre: Informational Rating: 4 stars This textbook on film art isn't as comprehensive as some, but it is as the title suggests: an introduction. It discusses elements of films such as shots, lighting, color, mood, tone, narrative, plots, acts, genres, hollywood era, etc. It provides many colour images to assist with learning, and it is set out in clearly structured format which makes it very easy to read. It has been useful in my studies.

  30. 5 out of 5

    Fiona

    This book was the textbook for my film analysis class. I actually really enjoyed reading it. It was probably the most entertaining book I read all term. Of course, that's probably because I'm a film nerd and I think cinematography and lighting and camera positions and all that stuff is super interesting. Maybe not everyone finds that enjoyable... Either way, I know I'm going to refer back to this book throughout my life and probably my early film career.

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