Table of contents for Becoming film literate : the art and craft of motion pictures / Vincent LoBrutto ; foreword by Jan Harlan.

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Table of Contents
The Curriculum 
	 Acknowledgments............................................................ 6
 Introduction....................................................................11	
1. Non-Linear Storytelling - Amores Perros.................................14 
2. Transformation of the American Comedy - Annie Hall..................21
3. Tableau Narrative Structure and Sound Design - Apocalypse Now.....29
4. The Body as Cinematic Landscape - L'Avventura........................37
5. Editing - Russian Montage -The Battleship Potemkin...................45
6. Italian Neorealism - The Bicycle Thief......................................54
7. Production Design - Blade Runner..........................................62
8. Dream State - Blue Velvet.....................................................71
9. The Period Film as Mirror for the Present - Bonnie and Clyde...........80
10. Expressionism in Cinema - The Cabinet of Dr. Caligari..................88
11. Classical Hollywood Film Style - Cassablanca.....................................96
12. Surrealism in Cinema - Un Chien Andalou.................................108
13. The Authorial Voice - Citizen Kane..........................................117
14. Shot Structure - The Crowd...................................................128
15. Thematic Unity - The Decalogue.............................................135
16. Mythopoetic Film - Dog Star Man............................................146
17. Political Objectives Through Cinematic Storytelling - Do the Right Thing 154
18. Film Noir - Double Indemnity
19. The personal film - 8 1/2..........................................................172
20. Animation and Music - Fantasia................................................181
21. An American Musical - 42nd Street..............................................190
22. New York Filmmaking - The French Connection..............................199
23. Period Comedy - The General.....................................................207
24. Parallel Storytelling - Intolerance................................................215
25. French New Wave - Jules and Jim................................................222
26. The Epic - Lawrence of Arabia.....................................................229
27. The Political Thriller - The Manchurian Candidate.............................237
28. Self-Referential Cinema - Man with the Movie Camera........................246
29. Architecture in Production Design - Metropolis.................................254
30. Roots of Documentary Film - Nanook of the North.............................263
31. Multi-Plot, Multi-Character Narrative - Nashville..............................271
32. Method Acting - On the Waterfront...............................................279
33. The Close-Up - The Passion of Joan of Arc......................................289
34. Dark Side of American Cinema - Psycho........................................298
35. Subtext in Personal Expression - Raging Bull....................................306
36. Multiple Point-of-View Narrative - Rashomon..................................314
37. Widescreen Filmmaking - Rebel Without a Cause..............................322
38. Camera Movement as Metaphor - LaRonde......................................330
39. Mise-En-Scène - Rules of the Game...............................................337
40. Direct Cinema - Salesman..........................................................344
41. The Freudian Western - TheSearchers............................................351
42. Defining Theme, Metaphor, and Character Through Color, Texture and Environmental Design - Se7en.....................................................359
43. Symbolism in the Cinema - The Seventh Seal...................................367
44. Art of the B-Movie - Shock Corridor.............................................375
45. Digital Filmmaking - Star Wars: Episode II: Attack of the Clones...........383
46. Birth of a Non-Fiction Film Style - The Thin Blue Line........................393
47. Experiential Narrative - 2001: A Space Odyssey.................................401
48. The Essay Film - Weekend.........................................................409
49. Screen Violence as Metaphor - The Wild Bunch.................................418 
50. Independent Filmmaking - A Woman Under the Influence.....................426	
	 Glossary................................................................................435	
 Bibliography...........................................................................449
 Index....................................................................................479	

Library of Congress Subject Headings for this publication:

Motion pictures.
Cinematography.