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- An Engaging Intro to "Film and Literature"
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Film and Literature: An Introduction and Reader
Timothy Corrigan
Manufacturer: Prentice Hall
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A Short Guide to Writing about Film (Short Guides Series)
ASIN: 0135265428 |
Book Description
This book is a wide-ranging introduction to the long history and provocative debates about the interactions between film and literature.
KEY TOPICS: Film and Literature: A Reader presents essays from a variety of cultures that address the major issues in the exchange between film and literature since the beginning of the twentieth century. The book provides landmark discussions of different genres and practices (such as poetry and movies or film scripts as literature) through writings by such figures as Vachel Lindsay, Walter Benjamin, and Alexander Astruc. It presents a concise, but detailed history of film and literature and the critical terms and techniques used in film and literary analysis as well as a detailed history of the bond between film and literature, from theatrical narratives of the silent film era to recent blockbuster adaptations of Shakespeare and Jane Austen. It also features introductions to each essay and suggests how the essays may be used to analyze works involving film and literature. An essential resource for every reader interested in film.
Customer Reviews:
An Engaging Intro to "Film and Literature".......2007-09-20
In the preface to his book FILM AND LITERATURE, Timothy Corrigan notes the "enormous scope" of the topic. Wisely, he subtitles the book "An Introduction and Reader."
Part I, "Film and Literature in the Crosscurrents of History," comprises eight brief and lively chapters, beginning with the silent era of theatrical depictions to the adaptations of novels. Among the problematic adaptations dicussed are The Grapes of Wrath, The Shining, and Lolita.
Part II, "Critical Borders and Boundaries: Analytical Categories for Film and Literature" introduces basic concepts in Film and Literary Studies.
Part III, "Major Documents and Debates," more than two-thirds of the book, is an anthology of essays on cinema excerpted from the writings of influential scholars such as Walter Benjamin, Sergei Eisenstein, Andre Bazin, George Bluestone, and Kristin Thompson.
The book makes very engaging reading.
-- C J Singh
Amazon.com
So you want to write a movie! You could consult Robert McKee's influential Story, Syd Field's rather schematic Screenplay, which extrapolates lessons from famous films, or novelist-turned-screenwriter Meg Wolitzer's literate Fitzgerald Did It, inspired by her own experience.
But the script you pour your soul into won't be read by a single soul you've ever heard of. If a star or mogul reads anything about your story, it will be in the form of "coverage," a brief report reducing your screenplay to a one-sentence summary, with a very few pages of synopsis and ratings of your characters, dialogue, and plot. That report is written by a Hollywood reader, who is likely to be a smart woman desperate to find something she can recommend to her boss--someone like Jennifer Lerch. If her eyes glaze over, you're dead.
Your eyes won't glaze over reading Lerch's 500 brisk mini-lessons. How many pages can you turn in? Not over 120. How crucial are the first 30 pages? Utterly. How many big, climactic moments do you need in those 30 pages? Two. How many scenes do you need in the dramatic opening sequence? Three to five. How many parenthetical comments directly addressed to the reader can you include? One or two per script. How about your favorite passages, where you plumb your characters' inner depths? Throw them away: "If the character doesn't say it, wear it, or do it, delete it." How do pros write? "Staccato. Economical." That's how Lerch writes. And if you want to get anywhere in Hollywood, you'll have to please someone just like her. Know your enemy--and make her your best friend. --Tim Appelo
Book Description
If Your Screenplay Can't Get Past the Hollywood Reader, It Can't Get to Hollywood
This ultimate insider's guide to screenwriting is designed to get you past the fiercest gatekeepers in Hollywood: the Hollywood script readers. This small army of freelancers will be among the first to read and evaluate your script and then to recommend it -- or not -- to the studios, directors, and stars.
Designed for quick and easy access, these 500 points are a step-by-step recipe. They cannot guarantee success, but failure to follow them can almost certainly guarantee failure. Tips include:
* Get your foot in the door: 23 ways to make a good first impression on the Hollywood Reader
* Screen talk: why it is essential to write dialogue that looks good on the page
* Your goals in each act: how to make your story unputdownable from beginning to end
* Specific genre issues: writing a romance? a mystery? a thriller? Learn their special requirements and pitfalls
* The final scenes: how to go out with a bang that will wow the Hollywood Reader
* Still didn't get positive coverage? Inside info on what to do and how to do it
Written by an industry insider who has recommended scripts that have sold for as much as one million dollars, this is the only book to show you what the Hollywood Reader wants to see. Clear, smart, and completely authoritative, 500 Ways to Beat the Hollywood Script Reader is by far the simplest, most practical book ever to hit the entertainment shelf.
Customer Reviews:
Cuts to the chase!.......2006-03-23
I have bought this book 12 times as a gift for various friends who aspire to be screenwriters. This book is deceptively easy to read and at first glance, it's easy to dismiss the content as "phoned in". Once you begin reading the 500 suggestions, you begin to see the structure and form of "Drama" come through. I keep referring to this book over and over as I write because One writes to be read. What Jennifer Lerch accomplishes is the gentle reminder that screenplays are literary experiences before they are visual experiences. That in order to get produced, the screenplay must sell the story and create a reasonable expectation in the reader's mind of what the audience will experience once the film is made. I've read all the other screenplay books and taken the seminars and all that and this book is the one I keep around because it reveals more information the more times you read it and take it's lessons to heart.
Fast and easy..........2006-01-27
As I surfed Amazon.com looking for good books to improve my craft, I came across this book and each time I saw it, I decided NOT to purchase it.
For some reason...it just seemed cheesy. Perhaps it's the cover or the title.
Well, now that I am ¾ finished my screenplay, I decided to come back to this book. And I must say...it isn't as what I thought it would be. Each one of the ways she listed it good information of what to look for within your screenplay to see if you've minimized any mistakes that would stand out to a Hollywood Reader.
The book is written in simplistic terms. It's fast and easy to read. Yet it packs a lot of good insider information that will assist even a novice of how to get their script read instead of flipped through.
I recommend this book as a secondary resource.
A Great checklist for improving your screenplay.......2005-09-05
Many of the reviews I've read of this book I feel seem to be missing the point of this book. This is not the one and only book on screenwriting that anyone should read. Not even Robert McKee's "Story" or Chris Vogler's "The Writer's Journey" can claim to be that. There are books to teach you structure, books to teach you about format, and books to teach you about character and plot development. This book is none of the above.
I see this book more as a reference guide. The first 200 or so tips are for complete newbies who have never written a script in their life However, when you get to Part 2 of the book, which covers tips for Acts 1 through 3, that's the real meat of the book and the real reason to buy it.
While writing your screenplay or even while plotting your outline, read this book. It is no more and no less than a 500-point checklist of what you should and shouldn't be doing in your script.
Sure, some tips would make more sense if they were combined with others. And yes, some tips are reworded versions of previous tips, but that's what it took to reach the 500 number.
On the positive side, I have lost count of the number of times I have found a hole in my plot or realized that I could eliminate or scene or two without damaging my story thanks to one or more of the tips in this great book.
So, if you're reading it hoping it will explain the awe and mystery that is screenwriting, you'll be sorely disappointed. If you use it as a checklist, you should find it quite valuable. I know I did.
500 Reasons You Should By This Book.......2005-07-27
Forget the bad reviews; this book is a WINNER. It may not teach detailed structure or delve into the intricate process of creating a solid concept, but I don't think that's the point. IMHO, this is more of a book for *quick* starters, or intermediates / pros. Once you already know you have a good story and know the ins and outs of structure, read this book and it'll put you over the top. For one, it forces you realize that you are writing for an audience, who is expecting to see certain things. In this respect, Lerch's perspective is invaluable. After reading Rob McKee's Story, Trottier's Screenwriting Bible and also books by Seger and more, I think that this book's exploration of 'Act Goals' is a superb resource that I haven't seen anywhere else. I imagine that I'll constantly refer back to these gems as I write. To sum it up, DO NOT PASS this book. The best $12 I've spent all year.
Quick. Interesting. Informative.......2005-06-02
I enjoyed this book. I am not much of a reader (of literature and stuff) but I have read quite a few screenplay books. This seems to have all the right info (i.e. brevity and purposeful details only). But I felt I learned a few new things too. I agree that this isn't the only book to read. Writing the Picture is the closet I have come to finding that. But this is an important one for new screenwriters to read.
Book Description
A key collection of essays that looks at the specific issues related to the documentary form. Questions addressed include `What is documentary?' and `How fictional is nonfiction?'
Book Description
The earlier Film Noir Readers, which now boast a combined sale of well over 30,000 copies, have all quite deliberately conveyed a sweeping overview of the classic period, demonstrating how broad and inclusive noir movies are. Film Noir Reader 4 moves in a different direction. Its purpose is to identify the key films and motifs of noir and to analyze in depth the prototypical pictures that, while vivid examples of certain cinematic themes, bend and break their molds to find new ways to enthrall and frighten us. Like its predecessors, Film Noir Reader 4 is generously illustrated and features essays by such respected film critics and scholars as Robin Wood, J.P. Telotte, R. Barton Palmer, and Robert Porfirio. All have as their purpose to explain why and how these classic films work; the way screenplay, direction, acting, cinematography, editing and all the other filmmaking crafts blended together to produce work that exemplifies both a particular movement in film history and the innovations that keep the noir style fresh and compelling.
Customer Reviews:
Empty Streets and Shadowy Lighting.......2006-11-06
All in all, this is a worthy collection of two dozen or so essays on empty streets, shadowy lighting, calculating women, and doomed men, otherwise known as film noir. Why these cinematic downers keep commanding the scholarly attention they get is itself a matter of curious conjecture. But they do, and there must be a readership as this fourth entry in the publishing cycle demonstrates. I was prepared to pass this one up, figuring everything that needs saying has been said. But then I'm as hooked on the Walter Neffs and Kathie Moffetts of the world as the contributors are; so here I am, 20 bucks or so poorer, but reasonably happy with the deal.
Sure, in the eyes of the beholder some essays are bound to be of lesser interest or quality than others. I myself wonder about the future of the project when it includes such diminishing returns as an essay on the trivia of title sequences, or the `noir-izing' of a technicolor western like Rancho Notorious. However, unlike reviewer Mira, I don't fault the authors for standard high-brow terminology like "capitalist patriarchy" or `misogyny"-- though I do fault the editors (not the authors) for failing to footnote such real esoterica as "diagetic" and "syntagmatic". Come on, Mira, no one picks up the fourth installment of a series like this expecting the prose level of Photoplay. Then too, Mira, just which contributors are guilty of "absurd ideological readings". You need to specify. Worse-- why are these readings "absurd'? That's a pretty strong charge, and you've got a thousand words to back it up. Otherwise, it looks like an ungrounded cheap shot, and who knows, maybe you can convince me in the process.
As two of those presumably ideological essays stand, Hodges's and Humphrey's, respectively, they make a lot of sense to me. Hodges shows how war-time noir differs from post-war noir and how these changes reflect larger national happenings, while Humphries argues that post-war noir eventually fell victim to Cold War needs and what he calls the "liberal consensus". Humphries, in particular, makes provocative and well-reasoned points for anyone with interests beyond what's there on the movie screen. And as far as that goes, I would surmise both writers, with the concerns they have, lean toward the political left ( which I suspect is what really bothers reviewer Mira). But then, the dark side of noir has long attracted those suspicious of a social order where wealth stands as the ordering principle and people lacking that are left to dangle. Anyhow, #4 stands in my book as a worthy addition to the series, and I'll likely fork over another 20 or so if there's a #5.
Some Solid History & Some Silly Dogmatizing........2005-04-05
As Alain Silver explains in the book's Introduction, "Film Noir Reader 4" is different in purpose from the previous Film Noir Readers. It focuses on key films and key themes, rather than attempting to be inclusive or comprehensive. In that spirit, Silver has included a few lists of the most important film noirs according to himself and others in the Introduction. "Film Noir Reader 4" contains 23 mostly modern essays, many apparently not previously published, presented in two parts. The paper the book is printed on is pure white, instead of the off-white of previous volumes, so the black-and-white stills look better.
Part I, "Case Studies", includes 12 essays on key films. The films discussed are: "Double Indemnity", "Detour", "The Big Sleep", "Out of the Past", "The Unsuspected", "Gun Crazy", "D.O.A", "The Big Night", "Kiss Me Deadly", "The Big Heat", "The Big Combo", and "Touch of Evil". Glenn Erickson's enthusiastic and insightful essay "Fate Seeks the Loser: Edgar G. Ulmer's Detour" is particularly interesting. The same can be said for Kevin Hagopian's study of "The Big Sleep" and Stephen B. Armstrong's history of "Touch of Evil". Both films were radically altered by recuts, with the result of making them nonsensical. These carefully researched essays explain what was changed and why.
Part II focuses on "Noir Themes", although I don't think that most of these can reasonably be called "key" themes. Eleven essays discuss a variety of themes that can be found or projected upon classic noir films, including psychodrama, images of women, noir antecedents, horror-noir, war noirs, left-wing politics in noir and crime films, hybrid noir-westerns, and noir title sequences. In other words, Part II is a catch-all. "Cat People", "Rancho Notorious" (in comparison to "The Big Heat"), and "Double Indemnity" are discussed in the most depth.
I'm giving "Film Noir Reader 4" a lower rating than I gave the previous Film Noir Readers, because it is overwhelmed by the sort of absurd ideological readings that I haven't heard this much of since I studied film in college. The reader can't get far without running into dogmatic -and, I might add, eternally ill-defined- terminology like "patriarchal capitalism" and "misogyny". For grown persons to legitimize their socio-economic hang-ups by deliberately misrepresenting 60-year-old movies is pitiful. I am reminded of the reason director Fritz Lang left Germany: The Nazi Party liked his films so much that they offered Lang the opportunity to run the German film industry. His films were anti-fascist. Anyway, there are some good, informative, essays in "Film Noir Reader 4", and it's useful to present different interpretations. But these aren't so different, and I get the impression of scraping the bottom of the barrel.
The Persistence of Film Noir Style.......2005-02-06
This is the fourth reader in a series previously reviewed by me...I never thought the editors could find another 23 articles on "film noir," but they have successfully put together a new book organized in two parts: Case Studies and Noir Themes.
The "Case Studies" section deals with essential film noirs like DOUBLE INDEMNITY, DETOUR, THE UNSUSPECTED & TOUCH OF EVIL. The articles are written by well-respected "noir" critics; but the second section on Noir Themes is far more fascinating, especially the article by Nicolas Saada, "Noir Style in Hollywood."
There are two major errors in the text: (1) in a photo from ASPHALT JUNGLE, it is Marc Lawrence as Cobby in the background, not Anthony Caruso and in OX-BOW INCIDENT, it is Henry Morgan, not Frank who plays Art.
Otherwise, I would certainly include this book in a list of related readings in any noir course that I teach. I have taught NOIR STYLE at Columbia University and CUNY, using my own book, NOIR, NOW & THEN (Greenwood Press, 2001) as the main text and have used all the FILM NOIR READERS in my courses.
I would like to dedicated this review to Charles P. Mitchell who passed away suddenly this past January at the age of 55. He was an excellent noir scholar with a critical acumen and sense of humor that will be missed. His wife still runs their DARKER IMAGES VIDEO business in Millinocket, Maine, tracking down VHS & DVD recordings of the most elusive of noir films.
Ronald Schwartz at noir1937@aol.com
Book Description
Film Analysis: A Norton Reader offers concise analyses—each written exclusively for this text by a leading scholar—of forty-four diverse, historically significant films. Written with undergraduate readers in mind, these essays cover the central issues raised in today's cinema courses and provide students with practical models to help them improve their own writing and film-analysis skills. Film Analysis also includes a helpful introduction and an extensive glossary.
Customer Reviews:
Dense, Highly Academic Collection of Film Noir Theory with a Few Gems........2006-06-26
"Shades of Noir" is a collection of 10 highly academic essays on the nature of film noir, its origins, and its relevance to the culture at large, first published in 1993. The contributors are mostly academics from universities in the U.S. and Europe. In her introduction, editor Joan Copjec explains that the essays contribute different perspectives, not agreement, on what constitutes film noir. "What unites all the essays...is a strong sense of importance of the genre and of the necessity of retheorizing it." First, due to the "re-emergence of film noir in recent years". Secondly, on account of "the uneasy sense that we never adequately defined it in the first place".
Anyone who has taken a college film course will recognize the heavily Laconian and Marxist themes that run through this collection of essays as typical of film theory. You can either stomach it or you can't. The socio-economic and structuralist theorizing places these essays more in the realm of "cultural studies" than film history. The essays are extremely dense, as the intended audience is fellow academics, not the casual film noir fan. Nevertheless, they contain some interesting insights and new perspectives that are not entirely fantastical if the reader is willing to wade through it. I have to say, though, that this volume unconsciously elucidates the problem of defining film noir. Film noir has never been difficult to define. It has simply always been advantageous for academics not to define it -or to define it in whatever way suits their projects of the moment. So I guess they have left the job to us amateurs, who will make quick work of it. ;-)
The essays are as follows:
(1) "Film Noir on the Edge of Doom" by Marc Vernet. Vernet speculates about the motives of French theorists who "invented" film noir, as he denies that the film noir movement or style ever existed. This is the essay that Alain Silver fired a torrent of criticism at Vernet for in the introduction to his book "Film Noir Reader". Vernet displays an remarkable ignorance of cinematography, hard-boiled crime fiction, American film criticism, and cinema before 1940. (2) "The Synaptic Chandler" by Fredric Jameson. Analysis of the "peculiar nature of Chandler's plot construction", i.e. illogic, the "radio aesthetic" of film noir, and a Heideggerian perspective on the noir world.
(3) "Strange Pursuit: Cornell Woolrich and the Abandoned City of the Forties" by David Reid and Jane L. Walker. Primarily discusses how Woolrich's depression-era sensibility was particularly suitable to film noir and why it found an audience in the post-War 1940s. Very worthwhile for debunking the persistent claims that audiences were drawn to film noir due to "post-war depression" or disillusionment and that the femme fatale was the result of threats to masculine culture posed by women in the workplace. Compares hard-boiled fiction to the crime and adventure novels of the 1830s-1840s.
(4) "The Mystery of The Blue Gardenia" by Janet Bergstrom. Presents the production history of Fritz Lang's film, analysis, and comparison to Vera Caspary's story. I never thought "The Blue Gardenia" had much substance or that it was film noir. I still don't, but the particulars of its adaptation to film are interesting. (5) "Film Noir and Women" by Elizabeth Cowie. Attempt to "change the characterization of film noir as always a masculine film form". The roles of "duplicitous women", female protagonists, and victims. Analysis of several films, in particular Fritz Lang's "Secret Beyond the Door".
(6) "The Phenomenal Nonphenomenal: Private Space in Film Noir" by Joan Copjec. Starts with observation that the origin of detective fiction coincides with mid-19th century "passion for counting". The role of reason in film noir, particularly as exemplified in voice-over narration. Focus on "Double Indemnity". (7) "The Thing That Thinks: The Kantian Background of the Noir Subject" by Slavoj Zizek. Compares classic film noir to films of the 1980s that combine noir with other genres. Focus on "radical undermining of self-identity" in 1987's "Angel Heart" and 1982's "Blade Runner".
(8) "Home Fires Burning" by Fred Pfeil. The "domestication of film noir" in the neo-noir of the 1980s, focusing on the small-town domestic space of the art house "Blue Velvet" and the cyborg-as-father in the blockbuster "Terminator 2". Attributes this emphasis on nuclear family to "Reaganism". (9) "Noir by Noirs: Toward a New Realism in Black Cinema" by Manthia Diawara. Race and class in black film noir, focusing on "A Rage in Harlem". (10) "Democracy's Turn: On Homeless Noir" by Dan MacCannell. Diatribe on film noir's alleged "confrontation between capitalism and democracy". The disappearances of the "actual spaces" of film noir as seedy neighborhoods were gentrified.
Book Description
The Silent Cinema Reader brings together key writings on cinema from the beginnings of film in 1894 to the advent of sound in 1927, addressing the development of film production and exhibition technologies, methods of distribution, film form, and film culture during this critical period on film history. Thematic sections address: film projection and variety shows; storytelling and the Nickelodeon; cinema and reform; feature films and cinema programs; classical Hollywood cinema and European national cinemas. Each section is introduced by the editors, and contains suggestions for further readings and film viewings.
Average customer rating:
- A truly impressive body of seminal scholarship
- Film History
|
Film Histories: An Introduction and Reader
Manufacturer: University of Toronto Press
ProductGroup: Book
Binding: Paperback
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Book Description
Arranged chronologically, Film Histories is a wide-ranging anthology that covers the history of film from 1885 to the present. Each chapter contains an introduction by the editors on key developments within the respective period, followed by a classic piece of historical research about that period. Various approaches to film history are taken by the authors of the articles, exposing readers to different forms of historical research. Topics include: the history of audiences, exhibition, marketing, censorship, aesthetic history, political history, and historical reception studies.
Film Histories concentrates on the so-called historical turn in film studies, demonstrating that film history is about more than simply key films, directors, and movements. Also included is a preface explaining the structure and organization of the book. The contents are divided into sections on American and non-American research, thus designed to reach a wide student audience at the undergraduate level. Chapter introductions provide an overview of international developments in film.
Customer Reviews:
A truly impressive body of seminal scholarship.......2007-06-09
The collaborative and detailed work of Paul Grainge (Associate Professor in Film Studies, University of Nottingham), Mark Jancovitch (Professor of Film and Television Studies, University of East Anglia), and Sharon Montieth (Professor of American Studies, University of Nottingham), "Film Histories: An Introduction And Reader" is a 612-page compendium of information providing an historical overview and analytical survey of movies from their cinematic origins in 1895 down to the present day. Laid out chronologically, each individual chapter covers the key developments within the period covered, followed by a classic piece of historical research about that particular period. Different types of film historical research are provided for the benefit of film students. The result is a narrative history spine enhanced with introductions to different approaches to the study and research of cinematic history. A truly impressive body of seminal scholarship in both its scope and execution, the text is superbly organized, informed and informative, as well as being thoroughly comprehensive and 'student friendly'. Also available in a hardcover edition, "Film Histories: An Introduction And Reader" is a very strongly recommended for students of films and their genres, as well as being a core addition to personal, professional, and academic library Cinematic Studies & History reference collections.
Film History.......2007-05-24
A brief intoduction into the history of all dimensions of Film. A complete overview over industrial and cultural facets of this art. Along with James Monaco this book is one of the must-have-reads, portraying the historial aspect of film making. I found that one first at the university libary and was awed about this work.
Book Description
Dramatically broadening the previous field of research on sound, Sound Theory/Sound Practice promises to renew the debate over the importance of sound to cinema, from a theoretical as well as a historical perspective.
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