The Oxford History of World Cinema Hardcover – 17 Oct 1996
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a richly rewarding, impressively wide-ranging trawl through the medium's first 100 years (Time Out)
an essential guide for all serious cinema enthusiasts (Flicks)
If any new book deserves the gloss of informed and sacred text, it is The Oxford History of World Cinema ... a sound and thorough job in creating something that at least tries to be genuinely definitive. (Independent)
a model of clear editorial organization in which the essays of more than 80 contributors are marshalled into an illuminating mosaic. (The Economist) --This text refers to the Paperback edition.
About the Author
About the Editor: Geoffrey Nowell-Smith is Project Director for European Filmography, and Fellow of the European Humanities Research Centre at Oxford University.
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For those studying cinema, like myself, will find it useful as a condensed reference from which to depart into greater depths of research. Film buffs will find it useful to view films within cinematic contexts such as style, industry, and reception.
The book is divided into three main chapters: (1) Silent cinema (2) Sound cinema and (3) Modern cinema with the differnt topics aforementioned pervading throughout. In addition to this, a few hundred actors, directors, and cinematographers et al have been selected to feature in a special biography page of their own. These include notables such as Sternberg, Bunuel, DeMille, Dreyer, Ozu, Garbo, Warhol and so much more.
There are many illustrations - most of which are black and white but are stunning accompaniments nonetheless. Buy, read, enjoy and cherish it. I know I did!
I would recommend this book to film scholars who are interested in film theory rather than film history or casual discussion. The writings included in this book are not for light reading; they are very heady and in-depth analyses of the art of film.
I consider myself well-viewed and an intelligent film student and am always willing for good discussion about film, but I was a little disappointed with this volume. I was expecting something a little more accessible and approachable and I found this book to be a little dry. It is definitely not for the casual film buff, but for someone interested in the mechanics and the psychology of film, so be aware of this.
I have also been looking at Robert Sklar's "A World History of Film" and, judging from the less intimidating approach used by that book, think that is more of what I was looking for in this.
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