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    <subfield code="a">Lacey, Nick,</subfield>
    <subfield code="d">1961-</subfield>
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    <subfield code="a">Introduction to film /</subfield>
    <subfield code="c">Nick Lacey</subfield>
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    <subfield code="a">Houndmills, Basingstoke, Hampshire ;</subfield>
    <subfield code="a">New York :</subfield>
    <subfield code="b">Palgrave Macmillan,</subfield>
    <subfield code="c">2005</subfield>
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    <subfield code="a">xvi, 336 p. :</subfield>
    <subfield code="b">ill. ;</subfield>
    <subfield code="c">24 cm</subfield>
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    <subfield code="a">Includes bibliographical references (p. 308-328) and index</subfield>
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    <subfield code="t">Film language --</subfield>
    <subfield code="t">Introduction to mise en scene --</subfield>
    <subfield code="t">Production design: sets, props and costumes --</subfield>
    <subfield code="t">Lighting --</subfield>
    <subfield code="t">Performance --</subfield>
    <subfield code="t">Sound (and music) --</subfield>
    <subfield code="t">Framing: position; depth of field; aspect ratio; height and angle (but not movement) --</subfield>
    <subfield code="t">Camera movement --</subfield>
    <subfield code="t">Editing --</subfield>
    <subfield code="t">Film stars as texts --</subfield>
    <subfield code="t">Film genre and narrative --</subfield>
    <subfield code="t">Defining genre --</subfield>
    <subfield code="t">The repertoire of elements --</subfield>
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    <subfield code="t">Approaches to genre --</subfield>
    <subfield code="t">Twelve uses of genre --</subfield>
    <subfield code="t">Genre and audiences --</subfield>
    <subfield code="t">Introduction to narrative --</subfield>
    <subfield code="t">Todorov and Propp --</subfield>
    <subfield code="t">Story and plot --</subfield>
    <subfield code="t">Roland Barthes' narrative codes --</subfield>
    <subfield code="t">Other approaches --</subfield>
    <subfield code="t">Postmodern narratives --</subfield>
    <subfield code="t">Film as industry --</subfield>
    <subfield code="t">The beginning of cinema --</subfield>
    <subfield code="t">Hollywood-the formation of the major studios --</subfield>
    <subfield code="t">Hollywood and censorship --</subfield>
    <subfield code="t">Hollywood-the coming of sound --</subfield>
    <subfield code="t">Hollywood decline: the Paramount decrees and the baby boom --</subfield>
    <subfield code="t">New Hollywood? The early 1970s --</subfield>
    <subfield code="t">Package Hollywood --</subfield>
    <subfield code="t">Hollywood: conglomeration to media corporation --</subfield>
    <subfield code="t">The importance of Jaws --</subfield>
    <subfield code="t">Hollywood and the high concept --</subfield>
    <subfield code="t">The independent sector in North America --</subfield>
    <subfield code="t">The arthouse sector --</subfield>
    <subfield code="t">Selling cinema --</subfield>
    <subfield code="t">Genre and industry --</subfield>
    <subfield code="t">How new is contemporary Hollywood? --</subfield>
    <subfield code="t">Stars --</subfield>
    <subfield code="t">The publicity circus --</subfield>
    <subfield code="t">The DVD revolution --</subfield>
    <subfield code="t">Film festivals --</subfield>
    <subfield code="t">Conclusion: the shadow of Hollywood --</subfield>
    <subfield code="t">Film and theory --</subfield>
    <subfield code="t">Film and realism --</subfield>
    <subfield code="t">The auteur theory --</subfield>
    <subfield code="t">Structuralism and auteurism --</subfield>
    <subfield code="t">Screen theory - ideology --</subfield>
    <subfield code="t">Screen theory - psychoanalysis --</subfield>
    <subfield code="t">Screen theory - feminist analysis --</subfield>
    <subfield code="t">Spectatorship --</subfield>
    <subfield code="t">Third cinema and post-colonialism --</subfield>
    <subfield code="t">Postmodernism and poststructuralism --</subfield>
    <subfield code="t">Audience pleasures</subfield>
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    <subfield code="a">Cinematography</subfield>
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    <subfield code="d">2018-11-27</subfield>
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