Description
Book SynopsisTrade ReviewStevens has done the field a great service in prompting and gathering such a rich collection of essays. * Dominic Lash, Year's Work in Critical and Cultural Theory *
This collection provides an excellent snapshot of the state of film theory in the wake of the collapse of so-called grand theory grounded in poststructuralism, psychoanalysis, Marxism, and semiotics...Recommended. Upper-division undergraduates through faculty; professionals. * J. Belton, Choice *
This collection provides an excellent snapshot of the state of film theory in the wake of the collapse of so-called grand theory grounded in poststructuralism, psychoanalysis, Marxism, and semiotics; the waning of post-theory with its focus on film philosophy; and short-lived debates surrounding indexicality in the digital cinema era. * Choice *
Clearly shows the purpose and value of film theory, beginning with classical, formative discussions and entering contemporary debates, not only proving theory's lasting relevance but also possibility for continued sustainability. Volumes like Stevens' reinvigorate the discipline, for sure. * Erica Tortolani, Jump Cut *
Table of ContentsIntroduction: The Very Thought of Theory Kyle Stevens Section I: Meta-theory Chapter 1 A Machine for Killing Time Tom Gunning Chapter 2 Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic Daniel Morgan Chapter 3 Moral Philosophy and the Moving Image Brian Price Chapter 4 Film|Video|Essay Domietta Torlasco Chapter 5 The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory Malcolm Turvey Chapter 6 In Defense of Psychoanalytic Film Theory Damon R. Young Section II: Film Theory's Project of Emancipation Chapter 7 Film Theory as Ideology Critique (After Trump) Nico Baumbach Chapter 8 Buddhism and Film Theory: Beyond a Legacy Victor Fan Chapter 9 Feminist Film Theory on the Brink of Laughter Maggie Hennefeld Chapter 10 Theory for the Masses; or, Toward a Vernacular Criticism Noah Isenberg Chapter 11 "The Fold of Old Wounds": Daughters of the Dust, Eve's Bayou, and Mississippi Damned as Cinematic Black Feminist Theory Kara Keeling Section III: Apparatus and Perception Chapter 12 Lesbian Photographers: Affect and Cinematic Self-Discovery Marta Figlerowicz Chapter 13 Notes on Some Forms of Repetition Homay King Chapter 14 Empiricism and Film Theory: On the Moviola's Political Ontology Davide Panagia Chapter 15 Film Theory and Machine Vision Antonio Somaini Chapter 16 Headphones, Cinematic Listening, and the Frame of the Skull Kyle Stevens Section IV: Audiovisuality Chapter 17 The Audio-Visual Non-relation and the Digital Break Luka Arsenjuk Chapter 18 The composer of musique concrète wields a camera Michel Chion Translated by Claudia Gorbman Chapter 19 The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting Usha Iyer Chapter 20 Documentary Listening Habits: From Voice to Audibility Pooja Rangan Chapter 21 Audiovisual Rhythm and its Spectator: Moonlight as Example Rick Warner Section V: How Close is Close Reading? Chapter 22 Contesting the White Gaze: Black Film and Post-Cinematic Spectatorship Caetlin Benson-Allott Chapter 23 In Other Words: Film and the Spider Web of Description Timothy Corrigan Chapter 24 Women's Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano David Gerstner Chapter 25 Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis Adrian Martin Chapter 26 On Fire: When Fashion Meets Cinema Marketa Uhlirova Chapter 27 When and Where Does a Film Begin? Putting Films in Context Amy Villarejo Section VI: The Turn to Experience Chapter 28 The Affective Turnabout's Fair Play Sarah Keller Chapter 29 An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema Julian Hanich Chapter 30 Those Who Have: The Impersonality of Film Theory John David Rhodes Chapter 31 On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect Scott Richmond Chapter 32 Cinematic Experience: From Moving Images to Virtual Reality Robert Sinnerbrink
