Film History: An Introduction ISE

Kristin Thompson is an Honorary Fellow in the Department of Communication Arts at the University of Wisconsin—Madison, where she earned her Ph.D. Her books include Eisenstein’s Ivan the Terrible (1981), Exporting Entertainment: America’s Place in World Film Markets 1901–1934 (1985), Breaking the Glass Armor: Neoformalist Film Analysis (1988), Storytelling in the New Hollywood: Understanding Classical Narrative Technique (1999), Herr Lubitsch Goes to Hollywood: German and American Film after World War I (2005), and The Frodo Franchise: The Lord of the Rings and Modern Hollywood (2007). David Bordwell is Jacques Ledoux Professor Emeritus of Film Studies in the Department of Communication Arts at the University of Wisconsin–Madison. He also holds a Hilldale Professorship in the Humanities and an Honorary Doctorate from the University of Copenhagen. He has also held the Kluge Chair in Modern Culture at the Library of Congress. His books include Narration in the Fiction Film (University of Wisconsin Press, 1985), On the History of Film Style (Harvard University Press, 1997), Planet Hong Kong: Popular Cinema and the Art of Entertainment (Harvard University Press, 2000; 2nd ed., Irvington Way Institute Press, 2011), 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), The Rhapsodes: How 1940s Critics Changed American Film Culture (University of Chicago Press, 2016), and Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling (University of Chicago Press, 2017). He has also written books on Carl Theodor Dreyer, Yasujiro Ozu, Sergei Eisenstein, digital cinema, and Hong Kong film.

• Part One: Early CinemaChapter 1 – The Invention and Early Years of the Cinema, 1180s -1904Chapter 2 – The International Expansion of the Cinema, 1905 – 1912Chapter 3 – National Cinemas, Hollywood Classicism, and World War 1, 1913 – 1919Part Two: The Late Silent Era, 1919-1929Chapter 4 – France in the 1920sChapter 5 – Germany in the 1920sChapter 6 – Soviet Cinema in the 1920sChapter 7 – The Late Silent Era in Hollywood, 1920-1928Chapter 8 – International Trends of the 1920sPart Three: The Development of Sound Cinema, 1926-1945Chapter 9 – The Introduction of SoundChapter 10 – The Hollywood Studio System, 1930-1945Chapter 11 – Other Studio SystemsChapter 12 – Cinema and the State: The USSR, Germany, and Italy, 1930-1945Chapter 13 – France: Poetic Realism, The Popular Front, and the Occupation, 1930-1945Chapter 14 – Leftist, Documentary, and Experimental Cinemas, 1930-1945Part Four: The Postwar Era, 1945-1960sChapter 15 – American Cinema in the Postwar Era, 1945-1960Chapter 16 – Postwar European Cinema: Neorealism and its Context, 1945-1959Chapter 17 – Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959Chapter 18 – Postwar Cinema Beyond the West, 1945-1959Chapter 19 – Art Cinema and the Idea of AuthorshipChapter 20 – New Waves and Young Cinemas, 1958-1967Chapter 21 – Documentary and Experimental Cinema in the Post War Era, 1945-Mid 1960sPart 5: The Contemporary Cinema Since the 1960sChapter 22 – Hollywood’s Fall and Rise, 1960-1980Chapter 23 – Politically Critical Cinema of the 1960s and 1970sChapter 24 – Documentary and Experimental Cinema Since the Late 1960sChapter 25 – New Cinemas and New Developments: Europe and the USSR Since the 1970sChapter 26 – A Developing World: Continental and Subcontinental Cinemas Since 1970Chapter 27 – Cinema Rising: Pacific Asia and Oceania Since 1970Part 6: Cinema in the Age of New MediaChapter 28 – American Cinema and the Entertainment Economy, the 1980s and AfterChapter 29 – Toward a Global Fil CultureChapter 30 – Digital Technology and the Cinema