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How To Read a Film: the World of Movies, Media, Multimedia: Language, History, Theory. 30TH Anniversary Edition (Rev 09 Edition)by James Monaco
Synopses & ReviewsPlease note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.
Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media.
Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an "Essential Library: One Hundred Books About Film and Media You Should Read" and "One Hundred Films You Should See." As in previous editions, Monaco once again looks at film from many vantage points, as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to other narrative media such as the novel, painting, photography, television, and even music, the book discusses the elements necessary to understand how films convey meaning, and, more importantly, how we can best discern all that a film is attempting to communicate. In addition, Monaco stresses the still-evolving digital context of film throughout--one of the new sections looks at the untrustworthy nature of digital images and sound--and his chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film.
With hundreds of illustrative black-and-white film stills and diagrams, How to Read a Film is an indispensable addition to the library of everyone who loves the cinema and wants to understand it better.
In this engaging account, Michelle H. Raheja offers the first book-length study of the Indigenous actors, directors, and spectators who not only helped shape Hollywoodand#8217;s representation of Indigenous peoples but also, through their very participation, complicated the dominant, and usually negative, messages about Native peoples in film. Since the era of silent films, Hollywood movies and visual culture generally have provided the primary representational field on which Indigenous images have been displayed to non-Native audiences. As such, these films have been highly influential in shaping perceptions of Indigenous peoples as, for example, a dying race or inherently unable or unwilling to adapt to change. Films with genuinely Indigenous plots and subplots, however, clearly attest a different aspect of Native presence in a culture that largely defines Native peoples as invisible or separate.
In Reservation Reelism, Rahejaand#160;traces positive representations in film that reflect the complex and vibrant experiences of Native peoples and communities.
Navajo Talking Picture, released in 1985, is one of the earliest and most controversial works of Native cinema. It is a documentary by Los Angeles filmmaker Arlene Bowman, who travels to the Navajo reservation to record the traditional ways of her grandmother in order to understand her own cultural heritage. For reasons that have often confused viewers, the filmmaker persists despite her traditional grandmotherand#8217;s forceful objections to the apparent invasion of her privacy. What emerges is a strange and thought-provoking work that abruptly calls into question the issue of insider versus outsider and other assumptions that have obscured the complexities of Native art.
Randolph Lewis offers an insightful introduction and analysis of Navajo Talking Picture, in which he shows that it is not simply the first Navajo-produced film but also a path-breaking work in the history of indigenous media in the United States. Placing the film in a number of revealing contexts, including the long history of Navajo people working in Hollywood, the ethics of documentary filmmaking, and the often problematic reception of Native art, Lewis explores the tensions and mysteries hidden in this unsettling but fascinating film.
About the Author
James Monaco is a writer, publisher, and producer. His books include American Film Now, The New Wave, The Encyclopedia of Film, and The Connoisseur's Guide to the Movies. He lives and works in the New York City area.
Table of Contents
I. Film as Art
The Nature of Art
Ways of Looking at Art
Film, Recording, and the Other Arts
The Structure of Art
II. Technology: Image and Sound
Art and Technology
Video and Film
III. The Language of Film: Signs and Syntax
IV. The Shape of Film History
V. Film Theory: Form and Function
The Poet and the Philosopher: Lindsay and Munsterberg
Expressionism and Realism: Arnheim and Kracauer
Montage: Pudovkin, Eisenstein, Balazs, and Formalism
Mise en Scene: Neorealism, Bazin, and Godard
Film Speaks and Acts: Metz and Contemporary Theory
VI. Media: The Middle of Things
Print and Electronic Media
The Technology of Mechanical and Electronic Media
Radio and Records
Television and Video
VII. Multimedia: The Digital Revolution
The Digital Revolution
The Myth of Multimedia
The Myth of Virtual Reality
The Myth of Cyberspace
"What is to be Done?"
Film and Media: A Chronology
Reading About Film and Media
What Our Readers Are Saying
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