Skip navigation

W. W. Norton & Company : College Books

A History of Narrative Film 4e

Contents

Heavily revised chapters are marked with a star icon icon.

View a complete list of revisions to the Fourth Edition

  • 1 • Origins
  • Optical Principles
  • Series Photography
  • Motion Pictures
  • Projection: Europe and America
  • The Evolution of Narrative: Georges Méliès
  • Edwin S. Porter: Developing a Concept of Continuity Editing
  • 2 • International Expansion, 1907–1918
  • The United States
    • The Early Industrial Production Process
    • The Motion Picture Patents Company
    • The Advent of the Feature Film
    • The Rise of the Star System
    • The Move to Hollywood
    • The New Studio Chiefs and Industry Realignment
    • The "Block Booking" Dispute and the Acquisition of Theaters
    • The Rise of Hollywood to International Dominance
  • Expansion on the Continent
    • The Empire of Pathé Frères
    • Louis Feuillade and the Rise of Gaumont
    • The Société Film d’Art
    • The Italian Superspectacle
  • 3 • D. W. Griffith and the Development of Narrative Form
  • Formative Influences
  • The Beginning at Biograph
  • Innovation, 1908–1909: Interframe Narrative
  • Innovation, 1909–1911: Intraframe Narrative
  • Griffith’s Drive for Increased Film Length
  • Judith of Bethulia and the Move to Mutual
  • The Birth of a Nation
    • Production
    • Structure
    • Impact
  • Intolerance
    • Production
    • Structure
    • Influence and Defects
  • Griffith after Intolerance
  • Decline
  • The Importance of Griffith
  • 4 • German Cinema of the Weimar Period, 1919–1929
  • The Prewar Period
  • The War Years and the Influence of Scandinavia
  • The Founding of UFA
  • Das Kabinett des Dr. Caligari
  • The Flowering of Expressionism
    • Fritz Lang
    • F. W. Murnau and the Kammerspielfilm
  • The Parufamet Agreement and the Migration to Hollywood
  • G. W. Pabst and "Street" Realism
  • Down and Out
  • 5 • Soviet Silent Cinema and the Theory of Montage, 1917–1931
  • The Prerevolutionary Cinema
  • The Origins of Soviet Cinema
  • Dziga Vertov and the Kino-Eye
  • Lev Kuleshov and the Kuleshov Workshop
  • Sergei Eisenstein
    • The Formative Years
    • From Theater to Film
    • The Production of Battleship Potemkin
    • The Structure of Potemkin
    • Eisenstein’s Theory of Dialectical Montage
    • October (Ten Days That Shook the World, 1928): A Laboratory for Intellectual Montage
    • Eisenstein after October
  • Vsevolod Pudovkin
  • Alexander Dovzhenko
  • Other Soviet Filmmakers
  • Socialist Realism and the Decline of Soviet Cinema
  • 6 • Hollywood in the Twenties
  • Thomas Ince, Mack Sennett, and the Studio System of Production
  • Charlie Chaplin
  • Buster Keaton
  • Harold Lloyd and Others
  • Hollywood Scandals and the Creation of the MPPDA
  • Cecil B. DeMille
  • The "Continental Touch": Lubitsch and Others
  • In the American Grain
  • Erich von Stroheim
  • 7 • The Coming of Sound and Color, 1926–1935
  • Sound-on-Disc
  • Sound-on-Film
  • Vitaphone
  • Fox Movietone
  • The Process of Conversion
  • The Introduction of Color
  • Problems of Early Sound Recording
  • The Theoretical Debate over Sound
  • The Adjustment to Sound
  • 8 • The Sound Film and the American Studio System
  • New Genres and Old
  • Studio Politics and the Production Code
  • The Structure of the Studio System
    • MGM
    • Paramount
    • Warner Bros.
    • 20th Century–Fox
    • RKO
    • The Minors
    • "Poverty Row"
    • Ethnic Cinema
  • Major Figures of the Studio Era
    • Josef von Sternberg
    • John Ford
    • Howard Hawks
    • Alfred Hitchcock
    • George Cukor, William Wyler, and Frank Capra
  • 9 • Europe in the Thirties
  • The International Diffusion of Sound
  • Britain
  • Germany
  • Italy
  • The Soviet Union
  • France
    • Avant-Garde Impressionism, 1921–1929
    • The "Second" Avant-Garde
    • Sound, 1929–1934
    • Poetic Realism, 1934–1940
    • Jean Renoir
  • 10 • Orson Welles and the Modern Sound Film
  • Citizen Kane
    • Production
    • Structure
    • Influence
  • Welles after Kane
  • 11 • Wartime and Postwar Cinema: Italy and the United States, 1940–1951
  • The Effects of War
  • Italy
    • The Italian Cinema before Neorealism
    • The Foundations of Neorealism
    • Neorealism: Major Figures and Films
    • The Decline of Neorealism
    • The Impact of Neorealism
  • The United States
    • Hollywood at War
    • The Postwar Boom
  • Postwar Genres in the United States
    • "Social Consciousness" Films and Semidocumentary Melodramas
    • Film Noir
    • The Witch-Hunt and the Blacklist
    • The Arrival of Television
  • 12 • Hollywood, 1952–1965
  • The Conversion to Color
  • Widescreen and 3-D
    • Multiple-Camera/Projector Widescreen: Cinerama
    • Depth: Stereoscopic 3-D
    • The Anamorphic Widescreen Processes
    • The Nonanamorphic, or Wide-Film, Widescreen Processes
    • Adjusting to Widescreen
    • The Widescreen "Blockbuster"
    • American Directors in the Early Widescreen Age
  • 1950s Genres
    • The Musical
    • Comedy
    • The Western
    • The Gangster Film and the Anticommunist Film
    • Science Fiction
    • The "Small Film": American Kammerspiel
  • Independent Production and the Decline of the Studio System
  • The Scrapping of the Production Code
  • 13 • The French New Wave and Its Native Context
  • The Occupation and Postwar Cinema
    • Robert Bresson and Jacques Tati
    • Max Oph¸ls
  • Influence of the Fifties Documentary Movement and Independent Production
  • Theory: Astruc, Basin, and Cahiers du Cinéma
  • The New Wave: First Films
  • The New Wave: Origins of Style
  • Major New Wave Figures
    • François Truffaut
    • Jean-Luc Goddard
    • Alain Resnais
    • Claude Chabrol
    • Louis Malle
    • Eric Rohmer and Jacques Rivette
    • Agnès Varda, Jacques Demy, and Others
  • After the Wave
  • French Cinema in the 1980s and 1990s
  • The Significance of the New Wave
  • 14 • New Cinemas in Britain and the English-Speaking Commonwealth
  • Great Britain
    • Postwar British Cinema and Its Context
    • The Free Cinema Movement
    • British "New Cinema," or Social Realism
    • The End of Social Realism and Beyond
  • Australia and New Zealand
    • Australia
    • New Zealand
  • Canada
  • 15 • European Renaissance: West
  • The Second Italian Film Renaissance
    • Federico Fellini
    • Michelangelo Antonioni
    • Olmi, Pasolini, and Bertolucci
    • Other Italian Auteurs
    • The Italian Exploitation Film
  • Contemporary Widescreen Technologies and Styles
  • Scandinavian or Nordic Cinema
    • Ingmar Bergman
    • Swedish Cinema
    • Finland
    • Denmark and Dogme95
    • Norway and Iceland
  • Spain
    • Luis BuÒuel
    • New Spanish Cinema
  • Germany: Das neue Kino
    • Postwar Origins
    • Young German Cinema
    • The New German Cinema
    • Volker Schl–ndorff, Alexander Kluge, and Margarethe von Trotta
  • International Stature: Fassbinder, Herzog, Wenders, and Others
    • Rainer Werner Fassbinder
    • Werner Herzog
    • Wim Wenders
    • Hans J¸rgen Syberberg and Others
    • Jean-Marie Straub and Marxist Aesthetics
  • 16 • European Renaissance: East
  • Poland
    • The Polish School
    • The Second Generation
    • The Third Polish Cinema
    • Solidarity and the Polish Cinema
  • Former Czechoslovakia
    • The Postwar Period
    • The Czech New Wave
    • "Banned Forever"
  • Hungary
    • Three Revolutions
    • Andr·s Kov·cs
    • MiklÛs JancsÛ
    • Ga·l, SzabÛ, and Mész·ros
    • Other Hungarian Directors
  • Former Yugoslavia
    • Partisan Cinema and Nationalist Realism
    • Novi Film
    • The "Prague Group"
  • Bulgaria
  • Romania
  • Other Balkan Countries
  • 17 • The Former Soviet Union, 1945–Present
  • Stalinist Cinema
  • Cinema during the Khrushchev Thaw
  • Sergei Parajanov and Shadows of Forgotten Ancestors
  • Cinema under Brezhnev
  • Cinema of the Non-Russian Republics
  • Baltic Cinema
    • Lithuania
    • Latvia
    • Estonia
    • Moldavia (Moldova)
  • Transcaucasian Cinema
    • Georgia
    • Armenia
    • Azerbaijan
  • Central Asian Cinema
    • Uzbekistan
    • Kazakhstan
    • Kirghizia (Kyrgyzstan)
    • Tadjikistan
    • Turkmenistan
  • Soviet Russian Cinema
  • Glasnost, Perestroika, and the Collapse of the Soviet Union
  • 18 • Wind from the East: Japan, India, and China
  • Japan
    • The Early Years
    • Sound
    • War
    • Occupation
    • Rashomon, Kurosawa, and the Postwar Renaissance
    • Kenji Mizoguchi
    • Yasujiro Ozu
    • Offscreen Space
    • The Second Postwar Generation
    • The Japanese New Wave
    • Japanese Filmmaking after the New Wave
    • Decline of the Studios
  • India
    • Satyajit Ray
    • Parallel Cinema
    • Regional Cinemas
  • China
    • The People’s Republic of China
    • Hong Kong
    • Taiwan (Republic of China)
  • 19 • Third World Cinema
  • Latin America
    • Mexico
    • Brazil
    • Argentina
    • Bolivia, Peru, and Chile
    • Venezuela, Colombia, and Central America
    • Cuba and the New Latin American Cinema
  • Africa
    • North Africa
    • Sub-Saharan Africa
  • The Middle East
    • Iran
    • Israel
  • The Pacific Rim
  • 20 • Hollywood, 1965–1995
  • The New American Cinema
    • The Impact of Bonnie and Clyde
    • 2001: A Space Odyssey
    • The Wild Bunch: "Zapping the Cong"
    • End of a Dream
  • Hollywood in the Seventies and Eighties
    • Inflation and Conglomeration
    • New Filmmakers of the Seventies and Eighties
    • The American Film Industry in the Age of "Kidpix"
    • The Effects of Video
  • 21 • Hollywood Enters the Digital Domain NEW
  • Origins of Computer Animation, 1962–1988
  • Industrial Light & Magic
    • From The Abyss to Death Becomes Her
    • The Impact of Jurassic Park, 1993–1996
    • Digital Domain and Titanic
  • Particle Animation, 1996–1997: Twister, Independence Day, and Starship Troopers
  • A New "New Hollywood," 1997–1998
  • The Digital Manipulation of Color: What Dreams May Come, Pleasantville, and Beyond
  • A New Aesthetic for a New Century
    • The Martian Chronicles
    • Bread and Circuses
    • Millennial Visions
  • The State of the Art, circa 2002: Moulin Rouge and The Lord of the Rings: The Fellowship of the Ring
  • Digital Technology and the Future of Cinema: Three Pearl Harbors, 1953–2001
  • Glossary
  • Selective Bibliography
  • Index

View a complete list of revisions to the Fourth Edition

top of page

Copyright © 2005, W. W. Norton & Company. All rights reserved.
XHTML, CSS, 508