Film Art: An Introduction
by David Bordwell and Kristin Thompson

about the bookFilm Art: An Introduction is a survey of film as an art form. It’s aimed at undergraduate students and general readers who want a comprehensive and systematic introduction to film aesthetics. It considers common types of films, principles of narrative and non-narrative form, basic film techniques, and strategies of writing about films. It also puts film art in the context of changes across history. Film Art first appeared in 1979 and is currently in its eighth edition, published by McGraw-Hill. For more on our purposes in writing it, go here.

Errata for the 8th edition

We’ve found some text and printing errors in the first printing, of December 2006. These will be corrected in the second printing, in spring of 2007. We will post other errata as they arise. If you find mistakes, we’d be grateful to learn of them — send an email. Check our blog for further updates and sidelights on matters discussed in Film Art.

p. 13: caption for Fig. 1.20. Second sentence should read:

Year of the Horse, a concert film featuring Neil Young, was shot partly on Super 8.

p. 46: Fig. 1.56 has been cropped somewhat in printing. This is the correct image:

p. 119: Fig. 4.24 has been cropped somewhat in printing. This is the correct image:

p. 167: Fig. 5.17, aiming to illustrate day-for-night shooting, has been printed to eliminate the blue tint that should be there. Here is the correct image:

p. 237: Figures 6.65 and 6.67 have been transposed.

p. 296: Last sentence should read:

The four shots (7.60–7.70) in Table 7.3 constitute the scene in which the boy Jost is put into Fontaine’s cell.

p. 353: Fig. 10.51 has been severely cropped in printing. Here is the correct image:

Film analyses from earlier editions of Film Art

As Film Art went through various editions, we developed analyses of various films that might be used in an introductory course. But as space grew tight or certain films dropped out of circulation, we cut those analyses and replaced them with others. The Internet allows us to revive these old pieces. Many of the films are now available on DVD, and we invite students and professors to use these analyses in examining the movies.

The essays here are taken from the edition featuring their last revision.
 

Like His Girl Friday, The Man Who Knew Too Much presents us with a model of narrative construction. Its plot composition and its motivations for action contribute to making the film what a scriptwriter would call “tight.” Moreover, the film also offers an object lesson in the use of cinematic style for narrative purposes. Finally, the film illustrates how narration can manipulate the audience’s knowledge, sometimes making drastic shifts from moment to moment.

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Film theorist André Bazin has written of John Ford’s Stagecoach: “Stagecoach is the ideal example of the maturity of a style brought to classic perfection…Stagecoach is like a wheel, so perfectly made that it remains in equilibrium on its axis in any position.” This effect results from the film’s concentration on the creation of a tight narrative unity, with all of its elements serving that goal.

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It’s a typical approach that one person or a couple function as the protagonists of a film. Yet many Hollywood films use multiple protagonists. Woody Allen’s Hannah and Her Sisters examines the psychological traits and interactions among a group of characters. We shall see that creating several protagonists does not necessarily make a film any less “classical” in its form and stlye.

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In many classical films, groups of characters interact to create causes and motivations. Their actions, added together, steadily push the action forward. In Desperately Seeking Susan, however, the two protagonists, the staid New Jersey housewife Roberta and the wild, streetwise Susan, initially seem to have little connection to each other. The early portion of the plot alternates sequences involving the two women, but, although Roberta reads about Susan in the personals column and becomes fascinated with her, they do not interact directly. Yet the two women’s lives gradually begin to intertwine, until they finally meet at the end. The form of the film depends on devices of parallelism that point up how the women are actually somewhat alike.

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Many films pose few difficulties for viewers who like their movies straightforward and easy to digest. But not all films are so clear in their form and style. In films like Day of Wrath, the questions we ask often do not get definite answers; endings do not tie everything up; film technique does not always function invisibily to advance the narrative. When analyzing such films, we should restrain ourselves from trying to answer all of the film’s questions and to create neatly satisfying endings. Instead of ignoring peculiarities of technique, we should seek to examine how film form and style create uncertainty — seek to understand the cinematic conditions that produce ambiguity. Day of Wrath, a tale of witchcraft and murder set in seventeenth-century Denmark, offers a good test case.

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When Last Year at Marienbad was first shown in 1961, many critics offered widely varying interpretations of it. When faced with most films, these critics would have been looking for implicit meanings behind the plot. But, faced with Marienbad, their interpretations were attempts simply to describe the events that take place in the film’s story. These proved difficult to agree on. Did the couple really meet last year? If not, what really happened? Is the film a character’s dream or hallucination?

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Like Last Year at Marienbad, Dušan Makavejev’s Innocence Unprotected (more correctly translated as Innocent Unprotected) diverges markedly from the norms of classical narrative filmmaking. In analyzing the film, it is useful to think of its form as a collage, an assemblage of materials taken from widely different sources. By playing up the disparities among the film’s materials, the collage principle permits Makavejev to use film techniques and film form in fresh and provocative ways. The result is a film that examines the nature of cinema — particularly, cinema in a social and historical context.

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Clock Cleaners is a narrative, but it does not adhere to the typical patterns of narrative development that are frequently at work in feature-length Hollywood films. Employing a strategy common in slapstick shorts, it sets up a situation and then has the characters perform a series of nearly self-contained skits or gags, building up as the film goes along. In this case, three familiar stars, Mickey Mouse, Goofy and Donald Duck, all appear, each working in a different part of the huge clock tower. They do not interact until near the end of the film. No overall pattern like a search or a journey helps the plot develop; although the characters could be said to share a general goal of cleaning the clock, they have not accomplished it by the end of the film, and our sense of narrative progression has more to do with their mishaps than with any work they may get done.

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If Meet Me in St. Louis uncritically affirms the value of family life and Raging Bull offers an ambivalent critique of violence in American society, Tout va bien strongly attacks certain features of the state of French society in 1972. We shall use it as an example of how a film may present an ideological viewpoint explicitly and drastically opposed to that of most viewers.

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Frederick Wiseman’s High School is a good example of the cinéma-vérité approach. Wiseman received permission to film at Philadelphia’s Northeast High School, and he acted as sound recordist while his cameraman shot footage in the hallways, classrooms, cafeteria, and auditorium of the institution. The film that resulted uses no voice-over narration and almost no nondiegetic music. Wiseman uses none of the facing-the-reporter interviews that television news coverage employs. In these ways, High School might seem to approach the cinéma-vérité ideal of simply presenting a slice of life. Yet if we analyze the film’s form and style, we find that it still aims to achieve particular effects on the spectator, and it still suggests a specific range of meaning. Far from being a neutral transmission of reality, High School shows how film form and style, even in cinéma-vérité, shape the event we see on film

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Annotated List of Principal Essays