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The Movie Idiom: Film as a Popular Art Form, by Robert Henry Stanley
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The movie idiom is an apt moniker for the wide-ranging issues addressed in film studies courses and examined in Stanley's accessible volume. Organized within three parts--The Technical-Artistic, The Historical-Institutional, and The Critical-Cultural--chief concepts include technical advances, shooting and editing techniques, the collaborative aspects of production, film history and tradition, industrial developments, narrative structures, acting approaches, stereotypical representations, genre conventions, and censorship concerns. Stanley's analysis of significant movies illuminates essential points, connects readers with actual moviemaking, and stimulates the reader's own creativity.
Still photographs, frame enlargements, diagrams, and publicity material directly related to the specific concepts under consideration appear throughout the text. Full explanations of key terms and concepts are contained in the glossary.
TABLE OF CONTENTS: I. MOVIEMAKING: The Technical-Artistic 1. The Preproduction Phase The Producer s Role / Project Development / Screenwriting / The Director s Domain / Casting Actors / Costume Design / Makeup and Hairstyling / Production Design / Shooting Sites / Preparations for Filming 2. Principal Cinematography Tools of Moviemaking / Film Stock / Lighting Sources / Framing the Image / Shooting Schemes / Point of View / Establishing Shots / Camera Movement / Camera Angles / Camera Setups / Cut to the Close 3. The Postproduction Phase The Editing Process / Visual Effects / Sound Editing / Assembling the Movie / The Way of Frescoes II. CONTEXTS: The Historical-Institutional 4. The Speechless Era Technical Antecedents / Recording Motion / Leisure Time Entertainment / Early Efforts at Moviemaking / A New Cinematic Mode of Expression / From Peep Shows to Nickelodeons / Patent Disputes / The Movie Moguls / Picture Palaces / Hollywood, the Movie Capital / The Rise of Star Power / United Artists / Hollywood in Wartime / Worldwide Distribution / The Griffith Legacy / Russian Montage / German Influences / Consolidation / The European Exodus 5. The Studio Era The Arrival of Sound / Scribes from the East / The New Studio Order / Antitrust Action / Prelude to War / Hollywood Goes to War / The End of an Era 6. The Electronic Era The Decline of Urban Theatres / Targeting Teenagers / Turning to Old Technologies / Small-Screen Production / Studio Backlogs / The Collapse of the Studio System / The Resurgence of Star Power / Hollywood and the Cold War / Corporate Upheaval / The New Hollywood / New Exhibition Outlets / Future Directions III. CONTENTS: The Critical-Cultural 7. Genres and Designs Generic Categories / The Western Genre / Recurrent Design Patterns / The Detective Genre / Thematic Tendencies / Story/Plot Distinctions / Incomplete Closure 8. Characters and Stereotypes Character Constructions / Unconventional Protagonists / Creating Characters / Screen Stereotypes / Female Stereotypes in Movies / Minorities in Movies / Stereotyping Asians and Asian Americans / Stereotyping African Americans / Positive Black Stereotypes / Intergalactic Stereotypes: The Phantom Menace / The Last Act 9. Censoring Screen Content Early Efforts at Content Control / Domestic Discord / New Self-Regulatory Measures / The Payne Fund Studies / The Legion of Decency / Industry Censorship under Breen / A New Catholic Campaign / Supreme Court Rulings / From Codes to Ratings / Obscenity at Issue / The New Moral Order Glossary
- Sales Rank: #759127 in Books
- Brand: Brand: Waveland Press, Inc.
- Published on: 2010-12-23
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.75" w x 1.00" l, 1.45 pounds
- Binding: Paperback
- 390 pages
- Used Book in Good Condition
From the Back Cover
"The real strength... is its conception of the `movie idiom'... bridging production, history, and textual analysis." -- Amy Villarejo, Cornell University
"For me, the best thing... is its readability. It deals with a wide range of material in an intelligent, literate way. Unlike other textbooks, it covers a limited number of significant films in greater depth." -- Arthur Fried, Plymouth State College
"The coverage of early censorship is marvelous, as good as I've read anywhere in summary form." -- Robin Matthews, Golden West College
"I couldn't be more impressed with this book. I especially love its scope and its ability to cover a great deal of territory in a small amount of space." -- Tom Isbell, University of Minnesota, Duluth
"Because of the stories, because of the writing, because of the problem solving examples, I think this book could be a loved piece of reading...." -- Robin Bates, St. Mary's College of Maryland
Most helpful customer reviews
1 of 1 people found the following review helpful.
Tell Me More...
By Kalliroi Sofronas
Although "The Movie Idiom" by Robert Henry Stanley is basically a textbook, there is plenty here for the non-student to enjoy. It is a good read for anyone who enjoys film in any form, whether you are old enough to have gone to the grand movie palaces of the early 1900s or grew up with the multiplexes of today. What makes this book interesting for all are the back-lot anecdotes, juicy gossip and fascinating descriptions of the makings of favorite movies such as "Casablanca", "The Godfather", "Thelma and Louise" and "Pulp Fiction". From pre- to post-production of a film, Stanley uses popular movies and actors of all times to exemplify the process. The book covers a wide range of information. My favorite is the History section, where such issues as the HUAC accusers, the accused, the supporters of the accused and the aftermath are discussed along with the development of the camera from the 1600s to the peep shows of the late 1800s and on to viewing in multi-media as we know it today. Also a favorite is the technical section where in "Digital Dazzle" computer manipulation is discussed using such examples as "Titanic" and "Perfect Storm" with their vast computerized oceans; the intricacies of making "King Kong"; the editing of the violent ending of "Bonnie and Clyde". Scandals, such as those of Fatty Arbuckle and Charlie Chaplin, are discussed in a later chapter that also includes censorship as well as stereotypes including those of the computer-generated intergalactic world. How many would think to relate the "Star Wars" character Jar Jar Binks to the demeaning early black stereotypes of the 1930s. Stanley explains, and gives surprising examples of other stereotypes.
"The Movie Idiom" cleverly blurs the line of its audience: the serious student and the recreational reader are one. I highly recommend it to anyone.
1 of 1 people found the following review helpful.
Remarkable revelations
By Laurie R. Squire
Anecdotal, informational, conversational and it has pictures. In other words , my favorite kind of book!
The focus on the idiom of the Hollywood film reveals remarkably similar character types, and the underlying cultural conflicts they embody, in a variety of genres across several decades. In such generically dissimilar movies as Angels With Dirty Faces, Casablanca, Shane, Star Wars, and Lethal Weapon, the author notes, "a self-reliant loner reluctant to become involved with others eventually joins forces with someone who has a strong sense of communal commitment and social responsibility. Paralleling the trajectory of the classical western, all of these movies tend to favor ad hoc individualism over the civilizing values of family and community." Even a screen drama like Schindler's List, despite its horrific subject matter, follows a familiar path with familiar characters coming to share a common purpose. Like the owner of Casablanca's most popular gin joint, the author points out, this movie's complex and enigmatic protagonist is at heart "Hollywood's most enduring male archetype: a self-reliant loner who reluctantly shifts from selfish isolation to social responsibility." Perhaps most surprising are the same contradictory cultural undercurrents the author uncovers in that seemingly upbeat and heartwarming yuletide TV perennial It's a Wonderful Life, whose protagonist George Bailey (so memorably played by James Stewart) "has been torn from childhood on between a devotion to family and community and vague yearnings for freedom and the intrigues of the outside world." Typical of most movies, its thematic structure serves to dissolve dilemmas. Yet, on reflection, the author reminds us, an unsettling sense that all is not well may remain. "Despite the upbeat ending, George's agonizingly conflicting desires and needs, so clearly in evidence throughout the unfolding action, are hardly fully resolved by his Christmas Eve conversion to the settled life. It is not difficult to imagine how the young George, assuming the gift of augury, would have recoiled from his later self as from an image of acquiescence to the status quo. Every arrangement in life, the movie seems to suggest, invariably carries with it the shadow of not being something else." Something we all eventually come to realize!
reviewed by Laurie R. Squire, online consumer columnist (Gannett)
0 of 0 people found the following review helpful.
Happily Surprised
By James E. Haas
As a writer of history and someone who takes in only the occasional movie, I was happily surprised on both counts upon reading Robert Henry Stanley's, The Movie Idiom.
It is the kind of book you can pick up, read as much of a chapter as you wish, and if you have the least bit of interest in movies, how they're put together, who impacted the industry and how, you're not going to be disappointed; in fact you'll be entertained. If you want to speed-read the technical information or bypass it completely, you can do so without taking away any of that entertainment value. But by the same token if you pay heed, you'll be appreciating the next movie you see with an entirely different, perhaps new level of comprehension along with an enhanced, film-oriented vocabulary.
Stanley is easy-to-read with a gift for clarity in describing complex matters. His style offered me insight into the technical reasons why I have enjoyed so many movies, how the artistry of the actors, combined with the skills of the writers, artisans and technicians contributed to the final product. I have so much to learn. It's like walking through an art museum and having your own personal docent. If the author's teaching style mirrors that of his writing, Stanley's students are very fortunate.
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