The Oxford history of world cinema / edited by Geoffrey Nowell-Smith.

Contributor(s): Nowell-Smith, Geoffrey .

Material type: materialTypeLabel

BookPublisher: Oxford ; New York : Oxford University Press, 1996Description: xxii, 824 p., [8] p. of plates : ill. (some col.) ; 26 cm.ISBN: 0198112572.Subject(s): Motion picture industry -- History and criticismDDC classification: 791.43

Contents:

Silent cinema 1895-1930 -- Early years -- Rise of Hollywood -- Silent film -- National cinemas -- Sound cinema 1930-1960 -- Sound -- Studio years -- Genre cinema -- Engaging with reality -- National cinemas -- Post-war world -- Modern cinema 1960-1995 -- Cinema in the Age of Television -- American movies -- Extending the boundaries -- Cinemas of the world -- New concepts and resurgence.

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Item type	Current library	Call number	Copy number	Status	Date due	Barcode	Item holds
Reference	MTU Crawford College of Art and Design Library Reference	791.43 (Browse shelf(Opens below))	1	Reference		00058192

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Enhanced descriptions from Syndetics:

From its humble beginnings as a novelty in a handful of cities, cinema has risen to become a billion- dollar industry and the most spectacular and original contemporary art form. It has spread to all parts of the globe, and is enjoyed by audiences that cut across all sections of society. The Oxford History of World Cinema traces the history of this enduringly popular entertainment medium. Covering all aspects of its development, stars, studios, and cultural impact, the book celebrates and chronicles over one hundred years of diverse achievement from westerns to the New Wave, from animation to the Avant-Garde, and from Hollywood to Hong Kong. An international team of distinguished film historians tells the story of the major inventions and developments in the cinema business, its institutions, genres, and personnel; other chapters outline the evolution of national cinemas round the world - the varied and distinctive filmic traditions that have developed alongside Hollywood. A unique aspect of the book are the special inset features on the film-makers and personalities - Garbo and Godard, Keaton and Kurosawa, Bugs Bunny and Bergman - who have had an enduring impact in popular memory and cinematic lore. With over 300 illustrations, a full bibliography, and an extensive index, this is the buff's ultimate guide to cinema worldwide.

Includes bibliographical references (p. 767-784) and index.

Table of contents provided by Syndetics

Acknowledgements (p. vii)
Contributors (p. ix)
Special Features (p. xv)
List of Colour Illustrations (p. xvii)
General Introduction (p. xix)
1 Silent Cinema 1895-1930 (p. 1)
Introduction (p. 3)
Origins and Survival (p. 6)
Bibliography (p. 13)
Early Cinema (p. 13)
Bibliography (p. 23)
Transitional Cinema (p. 23)
Bibliography (p. 42)
The Hollywood Studio System (p. 43)
Bibliography (p. 53)
The World-Wide Spread of Cinema (p. 53)
The First World War and the Crisis in Europe (p. 62)
Bibliography (p. 62)
Bibliography (p. 70)
Tricks and Animation (p. 71)
Bibliography (p. 77)
Comedy (p. 78)
Bibliography (p. 86)
Documentary (p. 86)
Bibliography (p. 95)
Cinema and the Avant-Garde (p. 95)
Serials (p. 105)
Bibliography (p. 105)
Bibliography (p. 111)
French Silent Cinema (p. 112)
Bibliography (p. 123)
Italy: Spectacle and Melodrama (p. 123)
Bibliography (p. 130)
British Cinema from Hepworth to Hitchcock (p. 130)
Germany: the Weimar Years (p. 136)
Bibliography (p. 136)
The Scandinavian Style (p. 151)
Bibliography (p. 151)
Bibliography (p. 159)
Pre-Revolutionary Russia (p. 159)
Bibliography (p. 162)
The Soviet Union and the Russian émigrés (p. 162)
Yiddish Cinema in Europe (p. 174)
Bibliography (p. 174)
Bibliography (p. 176)
Japan: Before the Great Kanto Earthquake (p. 177)
Bibliography (p. 182)
Music and the Silent Film (p. 183)
Bibliography (p. 192)
The Heyday of the Silents (p. 192)
Bibliography (p. 204)
2 Sound Cinema 1930-1960 (p. 205)
Introduction (p. 207)
The Introduction of Sound (p. 211)
Bibliography (p. 219)
Hollywood the Triumph of the Studio System (p. 220)
Bibliography (p. 234)
Censorship and Self-Regulation (p. 235)
Bibliography (p. 248)
The Sound of Music (p. 248)
Bibliography (p. 259)
Technology and Innovation (p. 259)
Bibliography (p. 267)
Animation (p. 267)
Bibliography (p. 275)
Cinema and Genre (p. 276)
Bibliography (p. 285)
The Western (p. 286)
Bibliography (p. 294)
The Musical (p. 294)
Bibliography (p. 303)
Crime Movies (p. 304)
The Fantastic (p. 312)
Bibliography (p. 312)
Bibliography (p. 321)
Documentary (p. 322)
Socialism, Fascism, and Democracy (p. 333)
Bibliography (p. 333)
Bibliography (p. 343)
The Popular Art of French Cinema (p. 344)
Italy from Fascism to Neo-Realism (p. 353)
Bibliography (p. 353)
Bibliography (p. 361)
Britain at the End of Empire (p. 361)
Germany: Nazism and After (p. 374)
Bibliography (p. 374)
Bibliography (p. 382)
East Central Europe Before the Second World War (p. 383)
Bibliography (p. 389)
Soviet Film Under Stalin (p. 389)
Bibliography (p. 398)
Indian Cinema: Origins to Independence (p. 398)
China Before 1949 (p. 409)
Bibliography (p. 409)
Bibliography (p. 413)
The Classical Cinema in Japan (p. 413)
Bibliography (p. 422)
The Emergence of Australian Film (p. 422)
Cinema in Latin America (p. 427)
Bibliography (p. 427)
Bibliography (p. 435)
After the War (p. 436)
Bibliography (p. 443)
Transformation of the Hollywood System (p. 443)
Independents and Mavericks (p. 451)
Bibliography (p. 451)
Bibliography (p. 460)
3 The Modern Cinema 1960-1995 (p. 461)
Introduction (p. 463)
Television and the Film Industry (p. 466)
The New Hollywood (p. 475)
Bibliography (p. 475)
Bibliography (p. 482)
New Technologies (p. 483)
Bibliography (p. 490)
Sex and Sensation (p. 490)
Bibliography (p. 496)
The Black Presence in American Cinema (p. 497)
Bibliography (p. 509)
Exploitation and the Mainstream (p. 509)
Bibliography (p. 515)
Dreams and Nightmares in the Hollywood Blockbuster (p. 516)
Bibliography (p. 526)
CinÉma-VÉritÉ and the New Documentary (p. 527)
Avant-Garde Film: the Second Wave (p. 537)
Bibliography (p. 537)
Bibliography (p. 550)
Animation in the Post-Industrial Era (p. 551)
Bibliography (p. 558)
Modern Film Music (p. 558)
Bibliography (p. 566)
Art Cinema (p. 567)
Bibliography (p. 575)
New Directions in French Cinema (p. 576)
Italy: Auteurs and After (p. 586)
Bibliography (p. 586)
Bibliography (p. 596)
Spain After Franco (p. 596)
Bibliography (p. 603)
British Cinema: the Search for Identity (p. 604)
Bibliography (p. 613)
The New German Cinema (p. 614)
Bibliography (p. 627)
East Germany: the Defa Story (p. 627)
Changing States in East Central Europe (p. 632)
Bibliography (p. 632)
Bibliography (p. 640)
Russia After the Thaw (p. 640)
Bibliography (p. 651)
Cinema in the Soviet Republics (p. 651)
Bibliography (p. 656)
Turkish Cinema (p. 656)
Bibliography (p. 661)
The Arab World (p. 661)
The Cinemas of Sub-Saharan Africa (p. 667)
Bibliography (p. 667)
Bibliography (p. 672)
Iranian Cinema (p. 672)
Bibliography (p. 678)
India Filming the Nation (p. 678)
Bibliography (p. 689)
Indonesian Cinema (p. 690)
China After the Revolution (p. 693)
Bibliography (p. 693)
Bibliography (p. 704)
Popular Cinema in Hong Kong (p. 704)
Taiwanese New Cinema (p. 711)
Bibliography (p. 711)
Bibliography (p. 713)
The Modernization of Japanese Film (p. 714)
Bibliography (p. 721)
New Australian Cinema (p. 722)
Bibliography (p. 730)
Bibliography (p. 731)
New Zealand Cinema (p. 731)
Canadian Cinema/Cinéma Canadien (p. 731)
Bibliography (p. 740)
New Cinemas in Latin America (p. 740)
Bibliography (p. 749)
New Concepts of Cinema (p. 750)
Bibliography (p. 759)
The Resurgence of Cinema (p. 759)
Bibliography (p. 767)
Index (p. 785)
List of Picture Sources (p. 823)

Reviews provided by Syndetics

Library Journal Review

Compiled by Nowell-Smith (coeditor of The Coming of the Book, Norton, 1985), this collection of essays by a host of international film authorities runs the gamut of movie history, from the silent screen of the 1890s to the contemporary world cinema. Novices and specialists alike will find much here of value, particularly the sections on non-Western nations (e.g., Turkey, Taiwan). Excellent special-feature articlesprimarily biographicalare interspersed throughout, and more than 280 sharp black-and-white illustrations and a color inset add to the overall quality. Although lack of space prevents in-depth discussion of many themes, general coverage is uniformly good. A fine complement to Robert Sklar's Film: An International History of the Cinema (Abrams, 1993), this reasonably priced volume should be a top purchase for all film collections, if only for the handy, single-volume international scope. Recommended for all libraries.Anthony J. Adam, Prairie View A&M Univ. Lib., Tex. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

School Library Journal Review

YAThis text is jam-packed with a comprehensive yet readable history of world cinema. Prominent contributions and contributors are highlighted unobtrusively. Unlike recently published chronicles and CDs that rely on glossy illustrations, this quiet resource requires little more than fundamental research skills, but it rewards readers with a bounty of easily accessible and highly valuable information.Sue Callahan, R. E. Lee High School, Springfield, VA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Nowell-Smith assembled an impressive group of world scholars to write the well-informed entries for this monumental work, but there is much repetition (which suggests that the book is meant to be read in, not read through), and the quality of the entries is not uniformly of high caliber. The treatment of Hollywood, both business and creative, is best; and the coverage of Europe and the Far East (except the Philippines) is fine. The sections on Africa and Latin America (especially Mexico) are totally inadequate, and contemporary British cinema is strangely misread. The best by far of the segments on genre is Rick Altman's piece on the musical. The book also includes 139 "Special Features" detailing the careers of notable contributors to world cinema. Would that they were all as balanced and perceptive as John Belton's piece on Howard Hawks. This reviewer wonders at many of the choices: among male directors, there are no entries for Bresson, Lean, Truffaut, Resnais, Allen, Walsh, Kieslowski, Jarman, or Greenaway; female directors are represented solely by Varda, Akerman, and Jodie Foster, and Guy Blache, Weber, Arzner, Von Trotta, Campion, Armstrong, Marshall, and Streisand are missing. These cavils aside, one cannot deny that the book will be indispensable. This reviewer just wishes it had been better. W. A. Vincent Michigan State University

Author notes provided by Syndetics

Geoffrey Nowell-Smith is Project Director of the Joint European Filmography, and Fellow of the European Humanities Research Centre at Oxford University.