This book develops and extends some of the arguments in the sixth chapter of On the History of Film Style. I consider how we might study cinematic staging, particularly ensemble staging, and take four major directors as examples of various staging strategies. The work of Louis Feuillade, Mizoguchi Kenji, Theo Angelopoulos, and Hou Hsiao‑hsien allows me to trace some staging devices across about 100 years of film history. More generally, Figures Traced in Light argues that we can profitably explain a lot about film style by considering the craft context within which filmmakers work, and the last chapter defends this argument against some criticisms it has received elsewhere.
Withthe 19th Party Congress coming next month and the 4th Chinese-convened WorldInternet Congress (WIC) soon to follow, China’s digital policy authorities thismonth held a publicity-filled Cybersecurity Week, and the Party’s leading journal on theory, , published an important article from a previously unknownentity under the Cyberspace Administration of China (CAC).
Visual Style in Cinema: Vier Kapitel Filmgeshichte
The list you have generated is not yet your outline for the essay, but it should provide you with enough similarities and differences to construct an initial plan.
The Films of Carl-Theodor Dreyer
A comparative essay asks that you compare at least two (possibly more) items. These items will differ depending on the assignment. You might be asked to compare
Berkeley: University of California Press, 1981. Out of print.
Although the assignment may say “compare,” the assumption is that you will consider both the similarities and differences; in other words, you will compare and contrast.
have commentsabout the state of this website?
Once you know your basis for comparison, think critically about the similarities and differences between the items you are comparing, and compile a list of them.
New America® is a registered trademark
Kristin Thompson and I grew concerned that film history textbooks didn’t reflect the growing scholarship in the field, particularly on early film and non-Western film. Too often U.S. books relied chiefly on films which had distribution here, forgetting that many outstanding films don’t get access to American audiences. Most textbooks also tended to ignore the primary sources, both print and film. (For example, most books didn’t use frame enlargements to illustrate the films but relied instead upon production stills.) So we decided to write a history text. It couldn’t be comprehensive or definitive, but we thought we could offer something different.
How to structure a comparative poetry essay by …
This is a revised and updated version of the 2000 edition mentioned below. It adds a chapter on the recent history of the Hong Kong film industry and a chapter on artistic trends over the same period—genres, stylistic options, and the emerging importance of three filmmakers: Wong Kar-wai, Stephen Chow, and Johnnie To. There are also two more “interludes,” one devoted to the Infernal Affairs trilogy, the other to Johnnie To’s crime films as carrying forward particular traditions in local filmmaking. The pdf file includes over 440 illustrations, nearly all in color.