Description
Book SynopsisRanging across world cinema, avant-garde films, experimental films, and cult cinema, this book proposes a flexible, inclusive theory of art cinema that emphasizes quality, authorship, and anticommercialism.
Trade ReviewAndrews remains acutely attuned to both potential criticisms in his logic by addressing them head-on, while never sliding into overtly academic-speak or rhetoric that could obscure his points, which makes
Theorizing Art Cinemas a thrilling revelation from front to back….Andrews provides readers not just with an intricate explanation for various art cinemas, but how such scholarship can best be performed going forward….Andrews clears up complicated, much-debated issues with relative ease. * Slant *
…a thought-provoking amalgamation of relevant theories and an interdisciplinary perspective. This book seems bound to inspire new research, which should move beyond the usual art-cinema suspects of auteurism and the avant-garde. * Film Studies *
Table of Contents
- Preface
- Acknowledgments
- Introduction: Correcting Art Cinema’s Partial Vision
- Part One: Art, Auteurism, and the World
- Chapter One. Art as Genre as Canon: Defining “Art Cinema”
- Chapter Two. No Start, No End: Auteurism and the Auteur Theory
- Chapter Three. From “Foreign Films” to “World Cinema”
- Part Two: Formats and Fetishes
- Chapter Four. Recovery and Legitimation in the Traditional Art Film
- Chapter Five. Losing the Asterisk: A Theory of Cult-Art Cinema
- Chapter Six. Revisiting “The Two Avant-Gardes”
- Chapter Seven. Sucking the Mainstream: A Theory of Mainstream Art Cinema
- Part Three: Institutions and Distributions
- Chapter Eight. Re-integrating Stardom ( . . . or Technology or Reception or . . . )
- Chapter Nine. Art Cinema as Institution, Redux: Art Houses, Film Festivals, and Film Studies
- Chapter Ten. Art Cinema, the Distribution Theory
- Epilogue. Beyond, Before Cinephilia
- Notes
- Filmography
- Bibliography
- Index
