{"product_id":"auteurs-and-authorship-9781405153331","title":"Auteurs and Authorship","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAuteurs and Authorship: A Film Reader offers students an introductory and comprehensive view of perhaps the most central concept in film studies. This unique anthology addresses the aesthetic and historical debates surrounding auteurship while providing author criticism and analysis in practice.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"This book is a classroom. One hopes that by reading it, eager young cinephiles may pass through words into the true life of the screen.\" (\u003ci\u003eQuarterly Review\u003c\/i\u003e, December 2009)\u003cbr\u003e \u003cbr\u003e  \"Presents an arresting, thoughtful procession of ideas about who makes a movie.\" \u003ci\u003eAfterimage\u003c\/i\u003e\u003cbr\u003e   \u003cp\u003e\"The question of authorship in cinema remains a crucial area of debate. Barry Keith Grant's excellent reader, which brings together most of the important French, British and American material, looks set to become a required text on the subject.\" \u003ci\u003eJim Hillier, University of Reading, England\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003e\"Without doubt the best collection available on film authorship, which remains the single most challenging issue in film studies and the abiding mystery of cinema. From the groundbreaking polemics of the 1950s and ‘60s to cutting-edge analyses by top contemporary scholars, \u003ci\u003eAuteurs and Authorship\u003c\/i\u003e examines this endlessly salient topic in a remarkable array of essays that, taken together, provide the most comprehensive, in-depth treatment available.\" \u003ci\u003eTom Schatz, University of Texas, Austin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003cp\u003e“Deep and fulfilling examination of the theory ... [and] inclusion of virtually every valuable essay on cinema auteurism makes [it] an indispensable book.” \u003ci\u003eRogueCinema.com\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eDedication. \u003cp\u003eAcknowledgments.\u003c\/p\u003e \u003cp\u003eFigures and Captions.\u003c\/p\u003e \u003cp\u003ePreface: How to Use this Book.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Classic Auteur Theory.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e1. Francois Truffaut: \u003ci\u003eA Certain Tendency of the French Cinema\u003c\/i\u003e (1954).\u003c\/p\u003e \u003cp\u003e2. André Bazin: \u003ci\u003eLa Politique des Auteurs\u003c\/i\u003e (1957).\u003c\/p\u003e \u003cp\u003e3. Ian Cameron: \u003ci\u003eFilms, Directors and Auteurs\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e4. Andrew Sarris: \u003ci\u003eNotes on the Auteur Theory in 1962\u003c\/i\u003e (1962).\u003c\/p\u003e \u003cp\u003e5. Pauline Kael: \u003ci\u003eCircles and Squares\u003c\/i\u003e (1963).\u003c\/p\u003e \u003cp\u003e6. Peter Wollen: \u003ci\u003eThe Auteur Theory\u003c\/i\u003e (1969) (excerpt).\u003c\/p\u003e \u003cp\u003e7. V.F. Perkins: \u003ci\u003eDirection and Authorship\u003c\/i\u003e (1972) (excerpt).\u003c\/p\u003e \u003cp\u003e8. Edward Buscombe: \u003ci\u003eIdeas of Authorship\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e9. Robin Wood: \u003ci\u003eIdeology, Genre, Auteur\u003c\/i\u003e (1977).\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: The Contexts of Authorship.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e10. Roland Barthes: \u003ci\u003eThe Death of the Author\u003c\/i\u003e (1968).\u003c\/p\u003e \u003cp\u003e11. Charles Eckert: \u003ci\u003eThe English Cine-Structuralists\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e12. Graham Petrie: \u003ci\u003eAlternatives to Auteurs\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e13. Claire Johnston: \u003ci\u003eWomen’s Cinema as Counter-Cinema\u003c\/i\u003e (1973).\u003c\/p\u003e \u003cp\u003e14. Angela Martin: \u003ci\u003eRefocusing Authorship in Women's Cinema\u003c\/i\u003e (2003).\u003c\/p\u003e \u003cp\u003e15. Richard Kosarzski: \u003ci\u003eThe Men with the Movie Cameras\u003c\/i\u003e (1972).\u003c\/p\u003e \u003cp\u003e16. Richard Corliss: \u003ci\u003eNotes on a Screenwriter's Theory, 1973\u003c\/i\u003e (1974).\u003c\/p\u003e \u003cp\u003e17. Gore Vidal: \u003ci\u003eWho Makes the Movies?\u003c\/i\u003e (1976).\u003c\/p\u003e \u003cp\u003e18. Peter Lehman: \u003ci\u003eScript\/Performance\/Text: Performance Theory and Auteur Theory\u003c\/i\u003e (1978).\u003c\/p\u003e \u003cp\u003e19. Jerome Christensen: \u003ci\u003eStudio Authorship\u003c\/i\u003e (2006) (excerpt).\u003c\/p\u003e \u003cp\u003e20. Matthew Bernstein: \u003ci\u003eThe Producer as Auteur\u003c\/i\u003e (2006).\u003c\/p\u003e \u003cp\u003e21. Bruce Kawin: \u003ci\u003eAuthorship, Design, and Execution\u003c\/i\u003e (1987).\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Close Readings.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e22. Maurice Yacowar: \u003ci\u003eHitchcock's Imagery and Art\u003c\/i\u003e (1977).\u003c\/p\u003e \u003cp\u003e23. Editors of Cahiers du Cinema: \u003ci\u003eJohn Ford’s Young Mr. Lincoln\u003c\/i\u003e (1970).\u003c\/p\u003e \u003cp\u003e24. Paul Willeman: \u003ci\u003eTowards an Analysis of the Sirkian System\u003c\/i\u003e (1972).\u003c\/p\u003e \u003cp\u003e25. Paul Kerr: \u003ci\u003eMy Name is Joseph H. Lewis\u003c\/i\u003e (1983).\u003c\/p\u003e \u003cp\u003e26. Michael Budd: \u003ci\u003eAuthorship as a Commodity: The Art Cinema and The Cabinet of Dr.Caligari\u003c\/i\u003e (1984).\u003c\/p\u003e \u003cp\u003e27. Claire Johnston and Pam Cook: \u003ci\u003eThe Place of Women in the Cinema of Raoul Walsh\u003c\/i\u003e (1974).\u003c\/p\u003e \u003cp\u003e28. Judith Mayne: \u003ci\u003eFemale Authorship Reconsidered\u003c\/i\u003e (The Case of Dorothy Arzner) (1990).\u003c\/p\u003e \u003cp\u003e29. Barry Keith Grant: \u003ci\u003eMan’s Favorite Sport?: The Action Films of Kathryn Bigelow\u003c\/i\u003e (2004).\u003c\/p\u003e \u003cp\u003e30. Michael DeAngelis: \u003ci\u003eTodd Haynes and Queer Authorship\u003c\/i\u003e (2006).\u003c\/p\u003e \u003cp\u003e31. J. Ronald Green: \u003ci\u003eTwoness' in the Style of Oscar Micheaux\u003c\/i\u003e (1993).\u003c\/p\u003e \u003cp\u003e32. S. Craig Watkins: \u003ci\u003eSpike’s Joint\u003c\/i\u003e (1998) (excerpt).\u003c\/p\u003e \u003cp\u003eBibliography\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407886524759,"sku":"9781405153331","price":89.25,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405153331.jpg?v=1730500852","url":"https:\/\/bookcurl.com\/products\/auteurs-and-authorship-9781405153331","provider":"Book Curl","version":"1.0","type":"link"}