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Film is arguably the dominant art form of the twentieth century. In this Very Short Introduction, Michael Wood offers a wealth of insight into the nature of film, considering its role and impact on society as well as its future in the digital age. As Wood notes, film is many things, but it has become above all a means of telling stories through images and sounds. The stories are often quite false, frankly and beautifully fantastic, and they are sometimes insistently said to be true. Indeed, many condemn movies as an instrument of illusion, an emphatic way of seeing what is not there. And others celebrate the reverse: that film brings us closest to the world as it actually is. "Photography is truth," a character says in a film by Jean-Luc Godard. "And cinema is the truth twenty-four times per second." But they are stories in either case, and there are very few films, Wood observes, even in avant-garde art, that don't imply or quietly slip into narrative.

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劳拉·穆尔维：“电影制作者不断地将电影的手法和素材呈现为视觉形式，缩小了胶皮和银幕之间的距离”……

电影是生命的开始，或是循环的复活。就像其他许多电影一样，这部电影想要描绘的不是电影的发明，而是发明所激发的灵感：正如帕诺夫斯基所说，它能够“赋予无生命的事物以生命，或赋予有生命的事物以不同形式的生命。”

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导演作者论（ auteur theory）是法语词组“ politique desaes”的标准英语表述，它来源于词组“ cinema d'auteur这个短语最初是弗朗索瓦・特吕弗在一篇名为《法国电影的某种倾向》的文章中使用的。特昌弗写道：“我无法相信品质传统[一种他所攻击的制作精良的法国电影，一种他所称的“受轻视的电影”的传统]和导演电影能和平共存。”有趣的是，“auteur”的英语直译不太可能，因为仅译为“ author”（作者）显然行不通。“ politique”在语境中有时是指政策，有时是指策略，意义稍加升华后，就成了稍微可被接受的“理论”。政策/理论有两种要素，一种可靠但缺乏争议，另一种在直觉上富有吸引力且同样具有颠覆性。第一种说的是我们针对某些导演已经谈论过的他们的电影只是他们的电影，不管他们获得了多少帮助，这些电影所贴的艺术标签都是导演本人。雷诺阿同希区柯克一样，他们的电影都贴上了他们的个人标签，尽管希区柯克担任导演时主创人员更复杂，因为他是同一流的制作人以及制片公司合作的，他的艺术大部分在于与他们协商，征求他们的同意。这一主创构成指向了第二种要素，它受到法国评论家和他们的美国追随者的追捧：在整个好菜坞有很多秘密的作者导演，他们被体系掩饰和遮蔽。诀窍是发掘他们，在任何出现的地方找到他们的个人风格或怪癖，在似乎只是工业产品的地方找到他们精妙的个人表现。

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大卫・林奇说他喜欢法国人，因为法国人相信最后的剪辑，即法国人认为最后的剪辑应由导演完成。在大多...

书籍介绍

Film is arguably the dominant art form of the twentieth century. In this Very Short Introduction, Michael Wood offers a wealth of insight into the nature of film, considering its role and impact on society as well as its future in the digital age. As Wood notes, film is many things, but it has become above all a means of telling stories through images and sounds. The stories are often quite false, frankly and beautifully fantastic, and they are sometimes insistently said to be true. Indeed, many condemn movies as an instrument of illusion, an emphatic way of seeing what is not there. And others celebrate the reverse: that film brings us closest to the world as it actually is. "Photography is truth," a character says in a film by Jean-Luc Godard. "And cinema is the truth twenty-four times per second." But they are stories in either case, and there are very few films, Wood observes, even in avant-garde art, that don't imply or quietly slip into narrative.