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Film/Genre
Film/Genre revises our notions of film genre and connects the roles played by industry critics and audiences in making and re-making genre. Altman reveals the conflicting stakes for which the genre game has been played and recognises that the term 'genre' has different meanings for different groups, basing his new genre theory on the uneasy competitive yet complimentary relationship among genre users and discussing a huge range of films from The Great Train Robbery to Star Wars and from The Jazz Singer to The Player.
A Theory of Narrative
Narrative is a powerful element of human culture, storing and sharing the cherished parts of our personal memories and giving structure to our laws, entertainment, and history. This text presents a wide-ranging and wholly original approach to understanding the nature of narrative.
The American Film Musical
"... a model of genre criticism and probably the best overall analysis of the film musical to date." Journal of Popular Films and Television "The American Film Musical is a truly admirable book which is well worth making a song and dance about. It will immediately assume biblical authority for all who are seriously interested in the dream-factory's most lavish fantasies, and it may even come to stand as a landmark in our understanding of Hollywood as a whole.... Altman's book is thorough, well informed and warmly good-humored. It has brought the study of musical films out of the dark ages." Times Literary Supplement "... an important addition to both literature and film collections.... a lan...
Sound Theory, Sound Practice
First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
Silent Film Sound
Silent films were, of course, never silent at all. However, the sound that used to accompany the screen picture in the early days of cinema has been neglected as an area of study. Altman explores the various musical, narrative, and even synchronized sound systems that enriched cinema before Jolson spoke.
The Sounds of Early Cinema
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace ci...
Genre, the Musical
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Robert Altman
The life and work of motion picture director Robert Altman (1925-2006) are interpreted from a variety of perspectives in this collection of essays. Actors, historians, film scholars, and cultural theorists reflect on Altman and his five-decade career and discuss the significance of music, history and genre in his films. Two actors who have appeared in some of the filmmaker's most important works are prominently represented, with a statement from Elliot Gould (MASH, The Long Goodbye, California Split) and an essay by Michael Murphy (McCabe and Mrs. Miller, Nashville, Tanner '88). The collection ends with an essay on the importance of death in the director's final productions The Company (2003) and Prairie Home Companion (2006) by noted Altman scholar Robert T. Self.
Why Most PowerPoint Presentations Suck
THIRD EDITION: Did you learn PowerPoint in 30 minutes? Join the crowd...most people get no more than a half-hour of training time with PowerPoint before they are tasked with making what is likely to be a first impression of themselves or their company. This book is for earnest presenters and presentation designers who want to escape the perils that entrap so many who turn to PowerPoint for their presentations.
Film Genre Reader IV
From reviews of the third edition: “Film Genre Reader III lives up to the high expectations set by its predecessors, providing an accessible and relatively comprehensive look at genre studies. The anthology’s consideration of the advantages and challenges of genre studies, as well as its inclusion of various film genres and methodological approaches, presents a pedagogically useful overview.” —Scope Since 1986, Film Genre Reader has been the standard reference and classroom text for the study of genre in film, with more than 25,000 copies sold. Barry Keith Grant has again revised and updated the book to reflect the most recent developments in genre study. This fourth edition adds new essays on genre definition and cycles, action movies, science fiction, and heritage films, along with a comprehensive and updated bibliography. The volume includes more than thirty essays by some of film’s most distinguished critics and scholars of popular cinema, including Charles Ramírez Berg, John G. Cawelti, Celestino Deleyto, David Desser, Thomas Elsaesser, Steve Neale, Thomas Schatz, Paul Schrader, Vivian Sobchack, Janet Staiger, Linda Williams, and Robin Wood.
