Trove: Find and get Australian resources. Books, images, historic newspapers, maps, archives and more. Adopted at over colleges and universities in its Second Edition, David A. Cook's A History of Narrative Film has established itself as a leader in its field. Editorial Reviews. About the Author. David A. Cook is a Professor in the Department of Media Studies at the University of North Carolina, Greensboro. He is the.
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Cook, David A. A history of narrative film / David A. Cook. — 3rd ed. p. cm. Includes bibliographical references and index. 1. Motion pictures—History. I. Title . A history of narrative film by David A. Cook; 6 editions; First published in ; Subjects: Motion pictures, History, Cinéma, Filmkunst, Histoire. Author: David A. Cook. Book Details Author: David A. Cook Pages: Binding: Paperback Brand: ISBN: Download or read A History of Narrative Film (Fifth Edition) by click link below Download or read A History of Narrative Film (Fifth Edition) OR.
A History of Narrative Film. New York and London: W. Reviewed by Fred Davies Centre for Continuing Education, University of Sussex Published on H-USA October, Like David Bordwell and Kristin's Thompson's ubiquitous text Film Art, this book is a long-time survivor; it has clearly been a great success for the publishers and has established itself as a standard textbook in many film studies courses. It is a hefty tome and quite an expensive one, so if a student is to be advised to download a copy, its usage as a textbook has to be assessed. It is undoubtedly an encyclopedic book, rather than an academic one with a thesis to argue, and therein lies both its strength and weakness. It purports to be "a history of narrative film" but neither of the terms "narrative" or "history" are discussed as paradigms or methodologies.
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Apr 14, For instance, Cook does this to good effect for English heritage films but he misses out on one key contributor to that debate--Claire Monk and for Nazi and Soviet propaganda films where he suggests a few specific books. There are more than a few slips that mar a book of reference.
The usual typo error in spelling Gandhi occurs in the title of Attenborough's film as Ghandi p. Peru's population is quoted as 7. Admittedly this is hardly a central fact for narrative film history, but it does undermine the credibility of other facts cited in this fact-laden tome. Equally, if this is a fully updated edition there is a problem with Italian film. Two of the most famous and successful recent Italian films are simply omitted: Benigni's Life is Beautiful and Tornatore's Cinema Paradiso In the index the listing for Dogme 95 is for pages , but in fact that is a misprint and Dogme 95 is actually on pages The encyclopedic coverage also presents a problem of balance.
Cook insists on including the most esoteric areas such as Bolivia, Peru, and Chile. But he gives them the same amount of pages as for Dogme 95, which is not only perhaps the most important of the "new waves" in recent years, but also has great implications for Cook's two key theses on CGI and Hollywood's hegemony.
This encyclopedic tendency degenerates too frequently into merely a series of lists, so it looks like a textbook for a Gradgrind film school. The Movie Brats are well covered up to the debacle of Heaven's Gate But there was a resurrection in New Hollywood in the s and s with the rise of the independents and the other strand of New Hollywood: the CGI blockbusters.
Cook's concluding chapter deals almost exclusively with the technological aspects of CGI, but one of the most quoted examples, the death of Oliver Reed during the shooting of Gladiator and the subsequent digital manipulation of his image to finish his scenes, barely gets a footnote. Yet that has given rise to much speculation about the future use of stars and even the resurrection of some old ones. There are some strange omissions. The recent rise of animation through Disney and DreamWorks is not covered.
There is no coverage of the Coen brothers just a note in the color section , and David Lynch barely merits a footnote and, again, only with a reference to CGI p. Spike Lee is not there either, nor is there anything on blacks or gay and lesbian Queer cinema as is covered in the Hillier book. These are new narratives surely? Whilst the American hegemony of distribution is cited as a key theme, there is no mention of the key players such as Harvey Weinstein of Miramax, or New Line, Fine Line, Sony Classics, etc.
Although, admittedly there is a good reference to Deutsche Columbia on page Nor is the Sundance film festival covered at all.
Cook's massive book is certainly a work of much research, though there is much argument, and it is theory-light. As a book of reference, it has its place in any library that covers film studies and it is a useful starting point for many researchers who wish to follow up the multiple lists he has collated.
There is also much up-to-date information on technology and, indeed, on its history. But one of the problems concerns the fact that technology is a moving target and the convergence of technologies and the internet are doubtless just over the horizon.
But then Cook will be able to produce a fifth edition.