Description
Book SynopsisApproaches to the detailed analysis of film and related questions about interpretation and value are once again being widely debated in film studies. Style and meaning is the first edited collection for many years to focus on these matters. All the essays centre on methods of close analysis and ground their discussion in the detail of films.
Trade Review‘Style and Meaning: Studies in the Detailed Analysis of Film is a vigorous book which boots us well beyond the old impasse of warring classical vs. modern schools or sensibilities in cinema studies. It does by concentrating carefully on the methodology of stylistic analysis, providing a range of vivid demonstrations – and essentially leaving some of the baggage of the auteurist and thematic legacy at the door.’
Adrian Martin, Screening the Past
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Table of ContentsIntroduction John Gibbs and Douglas Pye
1 Where is the world? The horizon of events in movie fiction
V. F. Perkins
2 From detail to meaning: Badlands (Terence Malick, 1973) and cinematic articulation
Jonathan Bignell
3 Narrative and visual pleasures in the The Scarlet Empress (Josef von Sternberg, 1934)
George M. Wilson
4 The Dandy and the Magdalen: interpreting the long take in Hitchcock's Under Capricorn (1949)
5 Character interiority: space, point of view and performance in Hitchcock's Vertigo (1958)
Neill Potts
6 Narration, point of view and patterns in the soundtrack of Letter from an Unknown Woman (Max Ophuls, 1948)
Steve Neale
7 Revisiting Preminger: Bonjour Tristesse (1958) and close reading
John Gibbs and John Pye
8 Meaning and value in The Jazz Singer (Alan Crosland, 1927)
9 A Hollyswooed art firlm: Liebestraum (Mike Figgis, 1991)
Michael Walker
10 Swimming and sinking: form and meaning in an avant-garde film
Jim Hillier
11 'Knowings one's place': frame-breaking, embarrassment and irony in La Cérémonie (Claude Chabrol, 1995)
Deborah Thomas
12 'Television aesthetics' and close analysis: style, mood and engagement in Perfect Strangers (Stephen Poliakoff, 2001)
Sarah Cardwell
13 How cinematography creates meaning in Happy Together (Wong Kar-Wai, 1997)
Cathy Grennhalgh
14 Motes on teaching film style
Andrew Klevan
15 Repetition and return: textual analysis and Douglas Sirk in the twenty-first century
Laura Mulvey
