From Library Journal
About 500 new terms ("digital technology," "high concept," "psychotronic," "splatter," etc.) have been added to the 3500 terms found in the first edition (LJ 12/87) of this excellent resource. In addition, there are studio surveys, historical background on the Oscar, a discussion of genres, and descriptions of seminal film journals. Movie stills help illustrate a concept or style, and drawings clarify the design and working of equipment. In his preface, Konigsberg assesses the current state of cinema from both technological and content standpoints. His explanation of how contemporary movies have come to be viewed as all things to all people recalls the classic age of Hollywood, when the goal of some studios was to make each movie suitable for any age group. Engaging writing on such topics as well as the solid reference value allow one to recommend wholeheartedly this revised edition to all public libraries as well as film collections, where it is a critical acquisition.?Kim R. Holston, American Inst. for Chartered Property Casualty Underwriters, Malvern, Pa.
Copyright 1997 Reed Business Information, Inc.
--Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
From Booklist
Since the publication of the first edition in 1987,
The Complete Film Dictionary has been an indispensable guide to the art, technology, and industry of filmmaking. Ira Konigsberg, a professor of film at the University of Michigan, has now presented us with a newly revised and updated second edition, taking into account the advances in movie technology in the intervening years.
The author notes that the reader will find this work to be a resource of practical terminology, historical developments, film theory, and criticism. Perhaps because of the proliferation of developments from 1987 to 1997, Konigsberg has added 500 new entries to the original 3,500 of the first edition. Among the new entries are computer animation, Industrial Light and Magic, and HDTV. The majority of the remaining entries have been updated.
Arranged alphabetically, the entries vary in length from short paragraphs to full essays. The book is fully cross-referenced and illustrated, though the habit of giving multiple headings (low-angle shot, low shot) to an entry can be confusing. The entries are highly informative, drawing on examples from the movies themselves. A detailed essay on special effects, for example, tracks their development from the model work of The Lost World (1925) through the computer-animated dinosaurs of Jurassic Park (1993).
This is an essential reference resource for most libraries, and those that currently have the first edition will definitely need this update. It is also wonderful reading for the film buff interested in discovering the real role of a best boy grip (assistant to the grip, or stagehand) or a gaffer (head electrician).
--Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
