PART 1 CRITICAL PRACTICE: Chapter 1 The Critical Practice of Film: LEARNING; OBJECTIVES; CRITICAL PRACTICE; TYPES OF FILM; THE CONVENTIONS OF CLASSICAL HOLLYWOOD; THE STAGES OF MAKING A FILM; HOW TO USE THIS BOOK; SUMMARY AND KEY QUESTIONS; WANT TO LEARN MORE?. -- Chapter 2 Motion Pictures: LEARNING OBJECTIVES; A DARKENED ROOM; FILM AND DIGITAL VIDEO; ANIMATION; Cameraless Animation; Cel Animation; Figure Animation; Computer Animation; SUMMARY AND KEY QUESTIONS; WANT TO LEARN MORE?. -- PART 2 FILM FORM: Chapter 3 Narrative Film: LEARNING OBJECTIVES; TELLING STORIES; NARRATIVE STRUCTURE; The Three Act Structure; Characters; Narrative Structure in Star Wars; Alternatives to the Three Act Structure; DEVELOPING A SCRIPT; STORY AND PLOT; The World of the Narrative; NARRATIVE TIME; Shifts in Time; NARRATION; The Narrator as a Character; The Narrator in the Plot; The Narrator in the Story; Reliable and Unreliable Narrators; THE NARRATION OF CINEMATIC TECHNIQUES; SUMMARY AND KEY QUESTIONS; WANT TO LEARN MORE?. -- Chapter 4 Documentary Film: LEARNING OBJECTIVES; CRITICAL PRACTICE DOCUMENTARY; STRUCTURE; Rhetorical Structure; Observational Documentary; Lyrical Documentary; MODES OF ADDRESS; Direct Address; Indirect Address; DOCUMENTARY'S PARTICIPANTS; Interviews and Encounters; First Person Voice; EVIDENCE; Visual Evidence; Current Evidence; Archival evidence; Constructed evidence; Aural Evidence; SUMMARY AND KEY QUESTIONS; WANT TO LEARN MORE?. -- Chapter 5 Experimental Film: LEARNING OBJECTIVES; WHAT IS EXPERIMENTAL FILM?; FILM AND MODERN ART: THE FIRST AVANT-GARDE; Context and Themes of Modern Art; Cubism and Ballet Mechanique; Surrealism and Un Chien Andalou; PERSONAL FILM; Meshes of the Afternoon; Stan Brakhage; STRUCTURALIST/MATERIALIST FILM; EXPANDED CINEMA: VIDEO ART AND THE BLURRING OF THE BOUNDARIES; Critique of Television and the Media; Video and Performance; Video Installation; Available Media; New Media. -- PART 3 TECHNIQUES OF FILM: Chapter 6 Cinematography: LEARNING OBJECTIVES; INTRODUCING CINEMATOGRAPHY; THE CAMERA; Speed of Motion; Lenses; Focus; Exposure; LIGHTING; Exterior Lighting; Available Light; Properties of Light; Intensity; Quality; Colour Temperature; Direction; The Conventions of Three Point Lighting, An Example of the Use of Light: Mildred Pierce; THE FRAME; Aspect Ratio; Camera Positions and Angles; The Camera and Point of View; The Ideological Use of the Camera; COMPOSITION WITHIN THE FRAME; The Position of Graphic Elements; Closure; Balance; Lines; Drawing Attention to Parts of the Frame; Composing in Depth; Frame within the Frame; The Composition of Offscreen Space; MOVEMENT; Zoom Movement; Types of Camera Movement; Tripod Movement; Vehicle Movement; Operator. -- Chapter 7 Mise-en-Scene: LEARNING OBJECTIVES; WHAT IS MISE-EN-SCENE?; THE ELEMENTS OF DESIGN; Setting; Studio Sets; On Location; Costume Design; Costume and Authenticity; Narrative and Thematic Use of Costumes; Aesthetic Use of Costumes; Ideological Use of Costumes; Make Up; Props; DIRECTION; Continuity Staging; Alternatives to Continuity Staging; PERFORMANCE AS AN ELEMENT OF MISE-EN-SCENE; Acting Styles; How an Actor Develops a Role; Performance in Stage Beauty. -- Chapter 8 Sound: LEARNING OBJECTIVES: SOUND IN FILM; THE CIRCLE OF SOUND; TYPES OF SOUND; Listening Well; Where is that Sound Coming From?; Voice; Sound Effects; Ambiance; Sound Recording; Sound Mixing; An Example Of Sound Types: 'Truck Stop'; NARRATIVE SOUND; Sound in the World of the Narrative; Sound and the Narrative Order; An Example of Sound in Narrative: Distant Voices, Still Lives. -- Chapter 9 Editing: LEARNING OBJECTIVES; THE FINAL STAGES; TRANSITIONS; THE CONTINUITY SYSTEM; 180° Space; Shot Selection; 30° Rule and Jump Cuts; Adding Complexity to the Scene; Ideological Significance of Continuity Editing; THE AESTHETIC TECHNIQUES OF EDITING; Graphic Matching; Cutting on Movement; Pace and Rhythm; Pacing within the Scene and within the Film; Pacing for Different; Types of Screen Action; EDITING AND THE WORLD OF THE NARRATIVE; Time; Manipulation through Editing; Linking Spaces; Inserts; MONTAGE; Eisenstein and The Montage of Conflict. -- Chapter 10 Music: LEARNING OBJECTIVES; LISTENING TO A FILM; SOURCES OF FILM MUSIC; ADDING MUSIC TO A FILM; Adding Music to Your Own Film or Video; MUSIC IN THE WORLD OF THE NARRATIVE; MUSICAL THEMES; MUSIC AND MEANING; THE IDEOLOGICAL SIGNIFICANCE OF FILM MUSIC; MUSIC IN THE LORD OF THE RINGS. -- PART 4 ANALYSIS AND CRITICAL PRACTICE: Chapter 11 Interpretation and Analysis of Film: LEARNING OBJECTIVES; WRITING ABOUT FILM; METHODS OF WRITING ABOUT FILM; The Film Review; Historical Research Essay; Critical Analysis of Film; Theoretical Interpretation of Film; ANALYZING A FILM; The Need for Description; Identifying the Cinematic Techniques; Examining How the Cinematic Techniques Tell the Story; Evaluating the Effectiveness of the Storytelling Techniques; INTERPRETING A FILM; Interpretation of Gender Identities; Women in Film; Gender in Gentlemen Prefer Blondes; The Ideologies of Race; Analyzing Race; Race in Raiders of the Lost Ark; Relating a Film to its Context of Creation; Autuer Analysis; Genre Analysis; National Cinemas; ANALYZING YOUR OWN CREATIVE PRACTICE. -- Chapter 12 Critical Practice in Action: LEARNING OBJECTIVES; CRITICAL PRACTITIONERS; THE CRITICAL PRACTICE OF THE SOVIET MONTAGE THEORISTS; The Context of Montage; The Kuleshov Experiments; Eisenstein and Pudovkin; Montage in Practice: The End of St. Petersburg; THE CRITICAL PRACTICE OF THE FRENCH NEW WAVE; The Context of the French New Wave; The Theory of the French New Wave; An Example of the French New Wave: Breathless; THE CRITICAL PRACTICE OF THIRD CINEMA; The Context of Third Cinema; Theories of Third Cinema; An Example of Third Cinema Memories of Underdevelopment; CRITICAL PRACTICE IN FEMINIST FILM; Feminist Alternatives to Mainstream Cinema; The Films of Agnes Varda; CRITICAL PRACTICE AND THE NEW QUEER CINEMA; The Context of New Queer Cinema; Queer Theory and New Queer Cinema; New Queer Cinema in Action; CRITICAL PRACTICE IN POPULAR CULT FILM; Critical Practice in The Matrix; SUMMARY AND KEY QUESTIONS; WANT TO LEARN MORE?