Chapters in this book

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. Acknowledgments xiii
5. Introduction xv
6. 1. The Beginnings of Film Narrative: D.W. Griffith’s The Birth of a Nation 1
7. 2 The Art of Montage: Sergei Eisenstein’s The Battleship Potemkin 19
8. 3. Expressionism and Realism in Film Form: F.W. Murnau’s The Last Laugh and Charles Chaplin’s The Adventurer 37
9. 4. The Conversion to Sound and the Classical Hollywood Film: Howard Hawks’s His Girl Friday 59
10. 5. Expressive Realism: Orson Welles’s Citizen Kane 78
11. 6. Italian Neorealism: Vittorio De Sica’s The Bicycle Thief 99
12. 7. Auteur Theory and the French New Wave: François Truffaut’s The 400 Blows 120
13. 8. Hollywood Auteur: Alfred Hitchcock’s Notorious 135
14. 9. The European Art Film: Federico Fellini’s 8 1/2 152
15. 10. Film and Postmodernism: Woody Allen’s Annie Hall 173
16. 11. Political Cinema: Spike Lee’s Do the Right Thing 191
17. 12. Feminism and Film Form: Patricia Rozema’s I’ve Heard the Mermaids Singing 207
18. 13. Digital Video and New Forms of Narrative: Mike Figgis’s Timecode and James Cameron’s Avatar 228
19. Notes 253
20. Glossary 271
21. Bibliography 279
22. Index 287