{"product_id":"auteurs-and-authorship-9781405153348","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\u003e\u003cp\u003eList of Illustrations vii\u003c\/p\u003e \u003cp\u003ePreface: How to Use This Book xi\u003c\/p\u003e \u003cp\u003eAcknowledgments xiii\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: Classic Auteur Theory 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 A Certain Tendency of the French Cinema (1954)\u003cbr\u003e \u003ci\u003eFrançois Truffaut \u003c\/i\u003e9\u003c\/p\u003e \u003cp\u003e2 De la Politique des Auteurs (1957)\u003cbr\u003e \u003ci\u003eAndré Bazin \u003c\/i\u003e19\u003c\/p\u003e \u003cp\u003e3 Films, Directors and Critics (1962)\u003cbr\u003e \u003ci\u003eIan Cameron \u003c\/i\u003e29\u003c\/p\u003e \u003cp\u003e4 Notes on the Auteur Theory in 1962 (1962)\u003cbr\u003e \u003ci\u003eAndrew Sarris \u003c\/i\u003e35\u003c\/p\u003e \u003cp\u003e5 Circles and Squares (1963) (excerpt)\u003cbr\u003e \u003ci\u003ePauline Kael \u003c\/i\u003e46\u003c\/p\u003e \u003cp\u003e6 The Auteur Theory (1969) (excerpt)\u003cbr\u003e \u003ci\u003ePeter Wollen \u003c\/i\u003e55\u003c\/p\u003e \u003cp\u003e7 Direction and Authorship (1972) (excerpt)\u003cbr\u003e \u003ci\u003eV.F. Perkins \u003c\/i\u003e65\u003c\/p\u003e \u003cp\u003e8 Ideas of Authorship (1973)\u003cbr\u003e \u003ci\u003eEdward Buscombe \u003c\/i\u003e76\u003c\/p\u003e \u003cp\u003e9 Ideology, Genre, Auteur (1977)\u003cbr\u003e \u003ci\u003eRobin Wood \u003c\/i\u003e84\u003c\/p\u003e \u003cp\u003eFurther Reading 93\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: The Contexts of Authorship 95\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e10 The Death of the Author (1968)\u003cbr\u003e \u003ci\u003eRoland Barthes \u003c\/i\u003e97\u003c\/p\u003e \u003cp\u003e11 The English Cine-Structuralists (1973)\u003cbr\u003e \u003ci\u003eCharles W. Eckert \u003c\/i\u003e101\u003c\/p\u003e \u003cp\u003e12 Alternatives to Auteurs (1973)\u003cbr\u003e \u003ci\u003eGraham Petrie \u003c\/i\u003e110\u003c\/p\u003e \u003cp\u003e13 Women’s Cinema as Counter-Cinema (1973)\u003cbr\u003e \u003ci\u003eClaire Johnston \u003c\/i\u003e119\u003c\/p\u003e \u003cp\u003e14 Refocusing Authorship in Women’s Filmmaking (2003)\u003cbr\u003e \u003ci\u003eAngela Martin \u003c\/i\u003e127\u003c\/p\u003e \u003cp\u003e15 The Men with the Movie Cameras (1972)\u003cbr\u003e \u003ci\u003eRichard Koszarski \u003c\/i\u003e135\u003c\/p\u003e \u003cp\u003e16 Notes on a Screenwriter’s Theory 1973 (1974)\u003cbr\u003e \u003ci\u003eRichard Corliss \u003c\/i\u003e140\u003c\/p\u003e \u003cp\u003e17 Who Makes the Movies? (1976)\u003cbr\u003e \u003ci\u003eGore Vidal \u003c\/i\u003e148\u003c\/p\u003e \u003cp\u003e18 Script\/Performance\/Text: Performance Theory and Auteur Theory (1978)\u003cbr\u003e \u003ci\u003ePeter Lehman \u003c\/i\u003e158\u003c\/p\u003e \u003cp\u003e19 Studio Authorship, Corporate Art (2006)\u003cbr\u003e \u003ci\u003eJerome Christensen \u003c\/i\u003e167\u003c\/p\u003e \u003cp\u003e20 The Producer as Auteur (2006)\u003cbr\u003e \u003ci\u003eMatthew Bernstein \u003c\/i\u003e180\u003c\/p\u003e \u003cp\u003e21 Authorship, Design, and Execution (1987)\u003cbr\u003e \u003ci\u003eBruce Kawin \u003c\/i\u003e190\u003c\/p\u003e \u003cp\u003eFurther Reading 200\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: Close Readings 201\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e22 Hitchcock’s Imagery and Art (1977)\u003cbr\u003e \u003ci\u003eMaurice Yacowar \u003c\/i\u003e203\u003c\/p\u003e \u003cp\u003e23 John Ford’s \u003ci\u003eYoung Mr Lincoln \u003c\/i\u003e(1970) (excerpt)\u003cbr\u003e \u003ci\u003eEditors of \u003c\/i\u003eCahiers du Cinéma 212\u003c\/p\u003e \u003cp\u003e24 Towards an Analysis of the Sirkian System (1972)\u003cbr\u003e \u003ci\u003ePaul Willemen \u003c\/i\u003e228\u003c\/p\u003e \u003cp\u003e25 My Name is Joseph H. Lewis (1983)\u003cbr\u003e \u003ci\u003ePaul Kerr \u003c\/i\u003e234\u003c\/p\u003e \u003cp\u003e26 Authorship as a Commodity: The Art Cinema and The Cabinet of Dr Caligari (1984)\u003cbr\u003e \u003ci\u003eMichael Budd \u003c\/i\u003e249\u003c\/p\u003e \u003cp\u003e27 The Place of Women in the Cinema of Raoul Walsh (1974)\u003cbr\u003e \u003ci\u003ePam Cook and Claire Johnston \u003c\/i\u003e255\u003c\/p\u003e \u003cp\u003e28 Female Authorship Reconsidered (The Case of Dorothy Arzner) (1990) (excerpt)\u003cbr\u003e \u003ci\u003eJudith Mayne \u003c\/i\u003e263\u003c\/p\u003e \u003cp\u003e29 Man’s Favorite Sport?: The Action Films of Kathryn Bigelow (2004)\u003cbr\u003e \u003ci\u003eBarry Keith Grant \u003c\/i\u003e280\u003c\/p\u003e \u003cp\u003e30 Authorship and New Queer Cinema: The Case of Todd Haynes (2006)\u003cbr\u003e \u003ci\u003eMichael DeAngelis \u003c\/i\u003e292\u003c\/p\u003e \u003cp\u003e31 Twoness and the Film Style of Oscar Micheaux (1993)\u003cbr\u003e \u003ci\u003eJ. Ronald Green \u003c\/i\u003e304\u003c\/p\u003e \u003cp\u003e32 Spike’s Joint (1998) (excerpt)\u003cbr\u003e \u003ci\u003eS. Craig Watkins \u003c\/i\u003e317\u003c\/p\u003e \u003cp\u003eFurther Reading 323\u003c\/p\u003e","brand":"John Wiley and Sons Ltd","offers":[{"title":"Default Title","offer_id":49407886590295,"sku":"9781405153348","price":35.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781405153348.jpg?v=1730500853","url":"https:\/\/bookcurl.com\/products\/auteurs-and-authorship-9781405153348","provider":"Book Curl","version":"1.0","type":"link"}