Description
Book Synopsis.
Trade ReviewA near-exhaustive collection of essential film writing. The essays contained in Film Theory and Criticism testify not only to the diversity of topics that make up the study of film, but to their increasing relevance in our globalized, digitized age. At nearly 900 pages, there's not a clunker in it. --John Bruns, College of Charleston It is the best compilation of the widest range of critical approaches that relies on complete reproductions (not truncated extracts) of some of the most influential and provocative theory on film. --Terri A. Hasseler, Bryant University
Table of ContentsPreface I. FILM LANGUAGE VSEVOLOD PUDOVKIN From Film Technique [On Editing] SERGEI EISENSTEIN From Film Form Beyond the Shot [The Cinematographic Principle and the Ideogram] The Dramaturgy of Film Form [A Dialectic Approach to Film Form] ANDRÉ BAZIN From What is Cinema? The Evolution of the Language of Cinema CHRISTIAN METZ From Film Language Some Points in the Semiotics of Cinema GILBERT HARMAN Semiotics and the Cinema: Metz and Wollen STEPHEN PRINCE The Discourse of Pictures: Iconicity and Film Studies DANIEL DAYAN The Tutor-Code of Classical Cinema WILLIAM ROTHMAN Against "The System of Suture" II. FILM AND REALITY SIEGFRIED KRACAUER From Theory of Film Basic Concepts ANDRÉ BAZIN From What is Cinema? The Ontology of the Photographic Image The Myth of Total Cinema De Sica: Metteur-en-scene RUDOLF ARNHEIM From Film As Art The Complete Film JEAN-LOUIS BAUDRY The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema NOEL CARROLL From Mystifying Movies Jean-Louis Baudry and "The Apparatus" III. THE FILM MEDIUM: IMAGE SIEGFRIED KRACAUER From Theory of Film The Establishment of Physical Existence BÉLA BALÁSZ From Theory of the Film The Close-up The Face of Man RUDOLF ARNHEIM From Film as Art Film and Reality The Making of a Film JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematic Apparatus NOEL CARROLL Defining the Moving Image D. N. RODOWICK Elegy for Film IV. THE FILM MEDIUM: SOUND SERGEI EISENSTEIN, VSEVELOD PUDOVKIN, and GRIGORI ALEXANDROV Statement on Sound CHRISTIAN METZ Aural Objects MARY ANN DOANE The Voice in the Cinema: The Articulation of Body and Space MICHEL CHION From The Voice in Cinema JOHN BELTON Technology and Aesthetics of Film Sound RICK ALTMAN From Sound Theory / Sound Practice V. FILM NARRATIVE AND THE OTHER ARTS ANDRÉ BAZIN From What is Cinema? Theater and Cinema LEO BRAUDY From The World in a Frame Acting: Stage vs. Screen DUDLEY ANDREW From Concepts in Film Theory Adaptation TOM GUNNING From D.W. Griffith and the Origins of American Narrative Film Narrative Discourse and the Narrator System JERROLD LEVINSON Film Music and Narrative Agency PETER WOLLEN Godard and Counter Cinema: Vent d'est CARL PLANTINGA Notes on Spectator Emotion and Ideological Film Criticism VI. THE FILM ARTIST ANDREW SARRIS Notes on the Auteur Theory in 1962 PETER WOLLEN From Signs and Meaning in the Cinema The Auteur Theory [Howard Hawks and John Ford] ROLAND BARTHES The Face of Garbo MOLLY HASKELL From Reverence to Rape Female Stars of the 1940s GILBERTO PEREZ From The Material Ghost [On Keaton and Chaplin] RICHARD DYER From Stars THOMAS SCHATZ From The Genius of the System The Whole Equation of Pictures JEROME CHRISTENSEN From America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures VII. FILM GENRES LEO BRAUDY From The World in a Frame Genre: The Conventions of Connection RICK ALTMAN From Film/Genre A Semantic/Syntactic/Pragmatic Approach to Genre Conclusion: A Semantic/Syntactic/Pragmatic Approach to Genre PAUL SCHRADER Notes on Film Noir ROBIN WOOD Ideology, Genre, Auteur LINDA WILLIAMS Film Bodies: Gender, Genre, and Excess CAROL CLOVER From Men, Women, and Chainsaws CYNTHIA A. FREELAND Feminist Frameworks for Horror Films DAVID BORDWELL The Art Cinema as a Mode of Film Practice VIII. FILM: SPECTATOR AND AUDIENCE JEAN COMOLLI and JEAN NARBONI Cinema/Ideology/Criticism CHRISTIAN METZ From The Imaginary Signifier Identification, Mirror The Passion for Perceiving Disavowal, Fetishism LAURA MULVEY Visual Pleasure and Narrative Cinema TANIA MODLESKI From The Women Who Knew Too Much: Hitchcock and Feminist Theory The Master's Dollhouse: Rear Window TOM GUNNING An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator RICHARD DYER From White Lighting for Whiteness MANTHIA DIAWARA Black Spectatorship: Problems of Identification and Resistance bell hooks The Oppositional Gaze: Black Female Spectators LEILANI NISHIME The Mulatto Cyborg: Imaging a Multiracial Future IX. DIGITIZATION LEV MANOVICH From The Language of New Media Synthetic Realism and Its Discontents The Synthetic Image and Its Subject Digital Cinema and the History of a Moving Image PHILIP ROSEN From Change Mummified JOHN BELTON The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary KRISTEN WHISSEL The Digital Multitude KRISTEN DALY Cinema 3.0: The Interactive-Image HENRY JENKINS Quentin Tarantino's Star Wars? Digital Cinema, Media Convergence, and Participatory Culture X. GLOBALIZATION DUDLEY ANDREW Time Zones and Jetlag: The Flows and Phases of World Cinema ELLA SHOHAT and ROBERT STAM From Unthinking Eurocentrism: Multiculturalism and the Media Stereotype, Realism, and the Struggle Over Representation STEPHEN CROFTS Reconceptualizing National Cinema(s) MITSUHIRO YOSHIMOTO The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order REY CHOW Film and Cultural Identity YINGJIN ZHANG Chinese Cinema and Transnational Film Studies WIMAL DISSANAYAKE Issues in World Cinema
