PrefaceIntroduction: Film History and How It Is DoneWhy Do We Care About Old Movies?What do Film Historians Do?Our Approach to Film HistoryHistory as StoryPart One: Early Cinema1 The Invention and Early Years of the Cinema, 1880s-1904 The Invention of the CinemaEarly Filmmaking and Exhibition2 The International Expansion of the Cinema, 1905-1912 Film Production in Europe The Struggle for the Expanding American Film Industry The Problem of Narrative Clarity 3 National Cinemas, Hollywood Classicism and World War I, 1913-1919 The American Takeover of World MarketsThe Rise of National CinemasThe Classical Hollywood Cinema Small Producing CountriesPart Two: The Late Silent Era, 1919-1929 4 France in the 1920s The French Film Industry after World War I Major Postwar GenresThe French Impressionist Movement The End of French Impressionism 5 Germany in the 1920sThe German Situation after World War IGenres and Styles of German Postwar CinemaMajor Changes in the Mid- to Late 1920s The End of the Expressionist MovementNew ObjectivityExport and Classical Style6 Soviet Cinema in the 1920s The Hardships of War Communism, 1918-1920Recovery under the New Economic Policy, 1921-1924Increased State Control and the Montage Movement, 1925-1930Other Soviet FilmsThe Five-Year Plan and the End of the Montage Movement7 The Late Silent Era in Hollywood, 1920-1928 Theater Chains and the Structure of the IndustryThe Motion Picture Producers and Distributors of AmericaStudio Filmmaking Films for African-American AudiencesThe Animated Part of the Program8 International Trends of the 1920s "Film Europe"The "International Style"Film Experiments Outside the Mainstream IndustryDocumentary Features Gain ProminenceCommercial Filmmaking InternationallyPart Three: The Development of Sound Cinema, 1926-1945 9 The Introduction of Sound Sound in the United StatesGermany Challenges HollywoodThe USSR Pursues Its Own Path to SoundThe International Adoption of Sound10 The Hollywood Studio System, 1930-1945 The New Structure of the Film IndustryExhibition Practice in the 1930sContinued Innovation in HollywoodMajor Directors Genre Innovations and TransformationsAnimation and the Studio System11 Other Studio Systems Quota Quickies and Wartime Pressures: The British StudiosInnovation within an Industry: The Studio System of JapanIndia: An Industry Built on MusicChina: Filmmaking Caught between Left and Right12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945The Soviet Union: Socialist Realism and World War IIThe German Cinema under the NazisItaly: Propaganda versus Entertainment13 France: Poetic Realism, the Popular Front and the Occupation, 1930-1945 The Industry and Filmmaking during the 1930sPoetic RealismBrief Interlude: The Popular FrontFilmmaking in Occupied and Vichy France14 Leftist, Documentary, and Experimental Cinema, 1930-1945 The Spread of Political CinemaGovernment- and Corporate-sponsored DocumentariesWartime DocumentariesThe International Experimental CinemaPart Four: The Postwar Era, 1946-1960s 15 American Cinema in the Postwar Era, 1946-1960 1946/1947/1948The Decline of the Hollywood Studio SystemThe New Power of the Individual FilmThe Rise of the Independents Classical Hollywood Filmmaking: A Continuing Tradition Major Directors: Several Generations16 Postwar European Cinema: Neorealism and its Context, 1945-1959 The Postwar ContextFilm Industries and Film CultureItaly: Neorealism and AfterA Spanish Neorealism?17 Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 French Cinema of the Postwar Decade Scandinavian RevivalEngland: Quality and Comedy18 Postwar Cinema Beyond the West, 1945-1959 General TendenciesJapanPostwar Cinema in the Soviet Sphere of Influence People's Republic of ChinaIndiaLatin America 19 Art Cinema and the Idea of Authorship The Rise and Spread of the Auteur TheoryAuthorship and the Growth of the Art CinemaLuis Bunuel (1900-1983)Ingmar Bergman (1918- )Akira Kurosawa (1910-1998)Federico Fellini (1920-1993)Michelangelo Antonioni (1912- )Robert Bresson (1907-1999)Jacques Tati (1908-1982)Satyajit Ray (1921-1992)20 New Waves and Young Cinema, 1958-1967The Industries' New NeedsFormal and Stylistic TrendsFrance: New Wave and New Cinema Italy: Young Cinema and Spaghetti WesternsGreat Britain: "Kitchen Sink" CinemaYoung German FilmNew Cinema in the USSR and Eastern Europe The Japanese New WaveBrazil: Cinema Novo21 Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960sToward the Personal Documentary Direct CinemaExperimental and Avant-garde Cinema Part Five: The Contemporary Cinema Since the 1960s 22 Hollywood's Fall and Rise, 1960-19801960s: The Film Industry in RecessionThe New Hollywood: Late 1960s-Late 1970sOpportunities for Independents23 Politically Critical Cinema of the 1960s and 1970s Political Filmmaking in the Third WorldPolitical Filmmaking in the First and Second Worlds24 Documentary and Experimental Film Since the Late 1960s Documentary Cinema From Structuralism to Pluralism in Avant-garde Cinema25 New Cinemas and New Developments: Europe and the USSR Since the 1970s Western EuropeEastern Europe and the USSR26 A Developing World: Continental and Subcontinental Cinemas since 1970New Cinemas, New AudiencesAfrican CinemaFilmmaking in the Middle EastSouth America and Mexico: Interrupted Reforms and Partnerships with HollywoodBrazilIndia: Mass Output and Art Cinema27 Cinema Rising: Pacific Asia and Oceania since 1970Australia and New ZealandJapanMainland ChinaNew Cinemas in East AsiaPart Six: Cinema in the Age of New Media 28 American Cinema and the Entertainment Economy: The 1980s and AfterHollywood, Cable Television, and Home VideoConcentration and Consolidation in the Film IndustryArtistic TrendsA New Age of Independent Cinema29 Toward a Global Film CultureHollyworld?Regional Alliances and the New International FilmDiasporic CinemaThe Festival CircuitVideo Piracy: An Alternative Distribution SystemFan Subcultures: Appropriating the Movies30 Digital Technology and the CinemaDigital Tools for FilmmakingDistribution and ExhibitionNew Media, Film, and Digital Convergence
Kristin Thompson is an Honorary Fellow at the University of Wisconsin-Madison. She holds a masters degree in film from the University of Iowa and a doctorate in film from the University of Wisconsin-Madison. She has published Eisenstein's Ivan the Terrible: A Neoformalist Analysis (Princeton University Press, 1981), Exporting Entertainment: America in the World Film Market 1907-1934 (British Film Institute, 1985), Breaking the Glass Armor: Neoformalist Film Analysis (Princeton University Press, 1988), Wooster Proposes, Jeeves Disposes, or, Le Mot Juste(James H. Heineman, 1992), Storytelling in the New Hollywood: Understanding Classical Narrative Technique (Harvard University Press, 1999), Storytelling in Film and Television (Harvard University Press, 2003), Herr Lubitsch Goes to Hollywood: German and American Film after World War I (Amsterdam University Press, 2005), and The Frodo Franchise: The Lord of the Rings and Modern Hollywood (University of California Press, 2007). She blogs with David at www.davidbordwell.net/blog. She maintains her own blog, "The Frodo Franchise," at www.kristinthompson.net/blog. In her spare time she studies Egyptology. David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies at the University of Wisconsin-Madison. He holds a master's degree and a doctorate in film from the University of Iowa. His books include The Films of Carl Theodor Dreyer (University of California Press, 1981), Narration in the Fiction Film (University of Wisconsin Press, 1985), Ozu and the Poetics of Cinema (Princeton University Press, 1988), Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Harvard University Press, 1989), The Cinema of Eisenstein (Harvard University Press, 1993), On the History of Film Style (Harvard University Press, 1997), Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000), Figures Traced in Light: On Cinematic Staging (University of California Press, 2005), The Way Hollywood Tells It: Story and Style in Modern Movies (University of California Press, 2006), and The Poetics of Cinema (Routledge, 2008). He has won a University Distinguished Teaching Award and was awarded an honorary degree by the University of Copenhagen. His we site is www.davidbordwell.net.