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A Pocket Guide to Analyzing Films, by Robert Spadoni
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The perfect concise guide to the formal analysis of film. Designed to be used by readers at many levels of knowledge, this book moves systematically through the elements that make up most films, focusing on aspects of the art of cinema that are common across history and national cinemas.
From form and narrative to mise-en-scène and cinematography to editing and sound, Robert Spadoni introduces and explains the principles and conventions of film in engaging, straightforward language. In addition to illustrating film techniques with almost 200 images—most of them in color—the book explains ways to find patterns and meaning in films through such concepts as motifs, development, and motivation.
Thumbnail readings of exemplary films further lay out the essentials of formal analysis. Film illustrations include frame enlargements from Stagecoach, Psycho, Jeepers Creepers, Persepolis, Groundhog Day, Take Shelter, and more. Modestly priced and packed with images, A Pocket Guide to Analyzing Films is ideal for students in a wide range of film courses who are looking for an easy-to-read guide to film analysis to accompany and enhance their course materials.
- Sales Rank: #567032 in Books
- Published on: 2014-08-28
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x .38" w x 5.50" l, .0 pounds
- Binding: Paperback
- 192 pages
Review
"...a sharp, compact guide to deconstructing films in the most useful fashion. Clean, carefully thought out, and intelligent, this guide allows the cinematic newcomer to analyze just what makes a film work, as well as how all of the various elements of a film combine to create a coherent vision. Highly recommended." (W.W. Dixon CHOICE 2015-01-01)
From the Inside Flap
"Robert Spadoni’s well-written and well-organized short guide to film/media aesthetics helps fill a significant gap for students and professors in assorted history/criticism courses. While many departments devote an entire course just to introducing the elements of film style, those in film history surveys, genre courses, and other specialized topics also need a succinct introduction to mise-en-scene, editing, sound design, camera movement, and narrative structure even when not the course’s major subject. Spadoni’s book provides a much-needed (and in my experience often requested) introduction to film aesthetics useful for both majors and non-majors enrolling in general education courses devoted to film and media arts." —Dr. Rick Worland, Southern Methodist University
About the Author
Robert Spadoni is the author of Uncanny Bodies: The Coming of Sound Film and the Origins of the Horror Genre. He is an associate professor in the English Department at Case Western Reserve University, where he teaches film studies.
Most helpful customer reviews
9 of 13 people found the following review helpful.
A great accessible guide with a lot of depth
By Happy Camper
This book made me want to go out and watch movies and think about them and then go watch them again and think about them some more. This is not a "Movies for Dummies" kind of book. It’s a very sophisticated, detailed overview of how to analyze - and write about - how movies construct and convey meaning. At the beginning, Spadoni suggests reading the entire book and then going back and analyzing each of the parts. This is a really good suggestion because for a pocket guide, this is an incredibly dense, complex book - it’s concise, but it’s the opposite of superficial. The book’s approach to analyzing films also suggests watching and considering a movie as a whole and then examining various elements closely - very very closely - to understand how it makes meaning, within the movie’s own context and in a bigger cultural context. Spadoni really helps you understand the difference between film and literary analysis by going beyond characters and plot and dialogue and by considering how any given film draws on - or contradicts - conventions from other movies (explicitly or otherwise). He also shows why it’s important to go beyond the intentions of film directors and look at the elements of a film itself to understand how it might create various meanings. I think his explanation of the difference between a film "review" and a film "analysis" is very useful, and he gives a lot of advice and suggestions about writing in an analytical, as opposed to a critical way. I really liked this - because it’s one thing to learn how to watch a film analytically and another thing to know how to convey your analysis persuasively in writing. He uses a ton of examples and actual screen shots so his points are really clear, and he shows you how to apply the same principles of analysis to all kinds of films - from popular contemporary movies to more obscure art films. He also uses examples from advertising and television and this reinforces his point that in analyzing visual media you have to go beyond "who were the characters" and "what happened."
You can tell Spadoni really loves movies and his enthusiasm is obvious. He’s not pedantic or professorial - he sounds like a person who genuinely wants to teach people about how incredibly fascinating and complex movies are and why films - and film analysis - matters. Although the book is aimed at students in film classes, I think anyone who’s interested in movies and who wants to learn more about how movies work would enjoy this book and find it accessible and useful - and fun to read.
11 of 16 people found the following review helpful.
A Highly Useful, Accessible, and Affordable Film-Analysis Resource
By Filmy
Spadoni's book fills a need in film studies: a broadly applicable text for formal analysis that provides a cohesive overview of film terms and concepts. Per its title, A Pocket Guide to Analyzing Films delivers concision rather than in-depth explanation. As such, it serves as both an approachable introduction to film analysis and a quick refresher on the subject. Ultimately, the book features the rapid-reference benefits of a film-term glossary as well as the formal-analysis context of a traditional film-intro text (in addition to an introduction and conclusion, organizing chapters include "Film as Form," "Film Narrative," "Mise-en-scène," "Cinematography," "Editing," and "Sound"; each of these has detailed subsections). Further elevating it beyond a glossary is the abundance of stills -- A Pocket Guide includes numerous images, providing a visual framework to ensure better understanding and retention; nearly all of the terms and concepts have corresponding screen captures, and many have more than one in order to capture a multiple-shot effect of editing, for example.
A Pocket Guide to Analyzing Films is written in a clear, conversational style that engages the reader rather than repelling him or her through opaque jargon. The book also achieves approachability through the inclusion of popular blockbusters -- serving, too, as an appropriate validation of their worth as objects of analysis -- alongside a diverse selection of classic, international, and experimental films, as well as print and television advertisements. Films by Spielberg, Soderbergh, and Abrams sit comfortably alongside those of Brakhage, Maddin, and Resnais. Another key element of the book's accessibility is its price, especially considering the glossy pages and number of images, many of which are in color.
Robert Spadoni's A Pocket Guide to Analyzing Films is recommended for undergraduate or graduate students seeking to acquaint or reacquaint themselves with core film-analysis concepts and terms, regardless of the specialization of the course of film study. In turn, it is recommended for film instructors as a quick and effective text to orient around.
5 of 8 people found the following review helpful.
I am overjoyed that Professor Spadoni has decided to share his expertise ...
By Hans Staats
Robert Spadoni's A Pocket Guide to Analyzing Films is a welcome addition to the ever-expanding field of cinema and media studies. As a graduate student and adjunct, I am overjoyed that Professor Spadoni has decided to share his expertise with instructors who are teaching a course on a special topic, for example film noir or Hitchcock, and can't assume that every student will have taken an introductory film class. In my experience, it is frequently the case that students need that extra push in making the connection between film language and textual analysis. Far less expensive and with many more images (nearly 200) than books of its type and size, A Pocket Guide to Analyzing Films is not only a pleasure to read, it is a passkey that helps instructors to unlock and customize their Introduction to Film course, while at the same time addressing the needs of their students.
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