The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.
Combining historical, political, and textual analysis, Kolker develops a pattern of cinematic invention and experimentation from neorealism through the modernist interventions of Jean-Luc Godard and Rainer Werner Fassbinder, focusing along the way on such major figures as Luis Buñuel, Joseph Losey, the Brazilian director Glauber Rocha, and the work of major Cuban filmmakers.
Kolker’s book has become a much quoted classic in the field of film studies providing essential reading for anybody interested in understanding the history of European and international cinema. This new and revised edition includes a substantive new preface by the author and an updated bibliography.
Hollywood Quarterly - FILM CULTURE IN POSTWAR AMERICA, 1945–1957
'The war, with its complex demands for indoctrination, propaganda, and specialized training, emphasized the social function of previous hit film next hit and radio. One of the first casualties of the conflict was the "pure entertainment" myth...
...which had served to camouflage the social irresponsibility and creative impotence of much of the material presented on the screen and over the air. The motion picture and the radio reflected the anxieties and hopes of the long crisis, and reported the tumult and prayer that marked the day of victory. What part will the motion picture and the radio play in the consolidation of the victory, in the creation of new patterns of world culture and understanding?
The editors of the Hollywood Quarterly are not so incautious as to attempt an answer to this question. Rather, the purpose of the magazine will be to seek an answer by presenting the record of research and exploration in motion pictures and radio in order to provide a basis for evaluation of economic, social, aesthetic, educational, and technological trends. The first issue of the Hollywood Quarterly is necessarily experimental: the scope of subject matter, and the stimulating but somewhat unsystematic diversity of style and viewpoint that characterizes the various articles, suggest the difficulty of selection and arrangement, and the lack of precedent even in limiting and defining the field of investigation. If a clearer understanding, not only of current techniques of the previous hit film next hit and radio, but also of the social, educational, and aesthetic functions, is arrived at, the editors will feel that the Quarterly has justified itself indeed.'