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1 Beaverton Film and Television- History and Criticism

Film Theory and Criticism: Introductory Readings

by

Film Theory and Criticism: Introductory Readings Cover

 

Synopses & Reviews

Publisher Comments:

Since publication of the first edition in 1974, Film Theory and Criticism, previously edited by Gerald Mast, Marshall Cohen, and Leo Braudy, has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this fifth edition is ideal for undergraduate and graduate courses in film theory and criticism. Featuring both classic texts and cutting-edge essays from almost a century of thought and writing about the movies, it includes 19 articles new to this edition and new introductions for the individual sections. The sections themselves have been reformulated to help lead readers into a richer understanding of what the movies have and can accomplish both as individual works and as contributions to what has been called "the art form of the twentieth century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this collection stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the context of psychology, sociology, and philosophy and to explore issues of gender and race. A newly conceived section on Film Narrative and the Other Arts has been added, the section on Film Genre has been reorganized to include a special focus on the horror film, and a new subsection of essays addresses the issue of film spectatorship. This volume also features new and more accurate translations of the important essays of Sergei Eisenstein and gives more space to such important theorists as Andr� Bazin and Christian Metz.

Synopsis:

Brought up to date with an expanded range of selections, extended historical coverage, and a dedicated pluralistic commitment, the third edition of this highly popular text on film aesthetics features major additions of contemporary topics in film theory--including psychoanalytic, feminist, and Marxist approaches--and new essays on television, horror films, and experimental movie making.

Of the 53 selections, 13 are new. The section "Kinds of Film" has been retitled "Film Genres" and concentrates exclusively on the distinctions within a single type of film: classical Hollywood narrative cinema. The final section, now called "Film: Psychology, Society, and Ideology" is substantially revised to take into account film's relationship to its consumers: how films shape or reflect cultural attitudes, reinforce or reject dominant modes of cultural thinking, and stimulate or frustrate people's needs and drives. Throughout the book chapter introductions have been rewritten to reflect today's concerns.

Current and comprehensive, the book that The Journal of Aesthetics and Art Criticism called "the best collection available on the disparate comments in the fields of film theory and criticism" is now even better.

Synopsis:

The fourth edition of this classic resource is updated to illustrate the most recent approaches in film theory, including semiotic and structuralist imperatives, Marxist historical and Freudian psychoanalytic analysis, and feminist and deconstructionist views, and each section has been revised to show the impact of new thinking on matters such as film language, the film medium, and the film artist. More than half of the contents are new, providing a broad survey of thinking about film over the past eight decades. A comprehensive text for students of film, it is also an invaluable resource for courses in semiotics and modern culture and media.

Table of Contents

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 [The Dialectical Approach to Film Form]


ANDRE BAZIN From What Is Cinema?


The Evolution of the Language of Cinema


BRIAN HENDERSON Toward a Non-Bourgeois Camera Style


CHRISTIAN METZ From Film Language


Some Points in the Semiotics of the Cinema


Problems of Denotation in the Fiction Film


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 the Suture"


KAJA SILVERMAN From The Subject of Semiotics


[On Suture]


NICK BROWNE The Spectator-in-the-Text: The Rhetoric of Stagecoach


II. Film and Reality


SIEGFRIED KRACAUER From Theory of Film


Basic Concepts


SIEGFRIED KRACAUER From From Caligari to Hitler


The Cabinet of Dr. Caligari


ANDRE 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


MAYA DEREN Cinematography: The Creative Use of Reality


STAN BRAKHAGE From Metaphors on Vision


ROBERT STAM AND LOUISE SPENCE Colonialism, Racism, and Representation: An Introduction


CHRISTINE GLEDHILL Recent Developments in Feminist Criticism


III. The Film Medium: Image and Sound


ERWIN PANOFSKY Style and Medium in the Motion Pictures


SIEGFRIED KRACAUER From Theory of Film


The Establishment of Physical Existence


BELA BALASZ 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


NOEL CARROLL From Philosophical Problems of Classical Film Theory


The Specificity Thesis


GERALD MAST From Film/Cinema/Movie


Projection


STANLEY CAVELL From The World Viewed


Photograph and Screen


Audience, Actor, and Star


Types; Cycles as Genres


Ideas of Origin


JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematographic Apparatus


CHRISTIAN METZ Aural Objects


SERGEI EISENSTEIN, VSEVELOD PUDOVKIN, AND GRIGORI ALEXANDROV Statement on Sound


MARY ANN DOANE The Voice in the Cinema: The Articulation of Body and Space


JOHN BELTON Technology and Aesthetics of Film Sound


JOHN ELLIS From Visible Fictions


Broadcast TV as Sound and Image


IV. Film Narrative and Other Arts


HUGO MUNSTERBERG From The Film: A Psychological Study


The Means of the Photoplay


ANDRE BAZIN From What is Cinema?


Theater and Cinema


LEO BRAUDY From The World in a Frame


Acting: Stage vs. Screen


SERGEI EISENSTEIN From Dickens, Griffith and Ourselves [Dickens, Griffith, and Film Today]


SEYMOUR CHATMAN What Novels Can Do That Films Can't (and Vice Versa)


DUDLEY ANDREW From Conceps in Film Theory


Adaptation


TOM GUNNING Narrative Discourse and the Narrator System


SEYMOUR CHATMAN From Coming to Terms


The Cinematic Narrator


KRISTIN THOMPSON The Concept of Cinematic Excess


PETER WOLLEN Godard and Counter Cinema: Vent d'Est


V. The Film Artist


ANDREW SARRIS Notes on the Auteur Theory in 1962


PETER WOLLEN From Signs and Meaning in the Cinema


The Auteur Theory


ROLAND BARTHES The Face of Garbo


JOHN ELLIS From Visible Fictions


Stars as Cinematic Phenomenon


ROBERT C. ALLEN From Film History: Theory and Practice


The Role of the Star in Film History [Joan Crawford]


MOLLY HASKELL From From Reverence to Rape


Female Stars of the 1940s


From Women and their Sexuality in the New Film


JOAN MELLEN From Women and Their Sexuality in the New Film


The Mae West Nobody Knows


MIRIAM HANSEN Pleasure, Ambivalence, Identification


Valentino and Female Spectatorship


THOMAS SCHATZ From The Genius of the System


"The Whole Equation of Pictures"


VI. Film Genres


LEO BRAUDY From The World in a Frame


Genre: The Conventions of Connection


RICK ALTMAN A Semantic/Syntactic Approach to Film Genre


Film Genre and the Genre Film


ROBERT WARSHOW Movie Chronicle: The Westerner


ROBIN WOOD Ideology, Genre, Auteur


BRUCE KAWIN The Mummy's Pool


TANIA MODLESKI The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory


LINDA WILLIAMS Film Bodies: Gender, Genre, and Excess


DAVID BORDWELL The Art Cinema as a Mode of Film Practice


VII. Film: Psychology, Society, and Ideology


WALTER BENJAMIN The Work of Art in the Age of Mechanical Reproduction


JEAN-LUC COMOLLI AND JEAN NARBONI Cinema/Ideology/Criticism


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"


PARKER TYLER From Magic and Myth of the Movies


Preface


CHRISTIAN METZ From The Imaginary Signifier


Identification, Mirror


The Passion for Perceiving


Disavowal, Fetishism


TOM GUNNING An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator


LAURA MULVEY Visual Pleasure and Narrative Cinema


MANTHIA DIAWARA Black Spectatorship: Problems of Identification and Resistance


Product Details

ISBN:
9780195105988
Subtitle:
Introductory Readings
Author:
Braudy, Leo
Author:
null, Marshall
Author:
null, Leo
Author:
Cohen, Marshall
Publisher:
Oxford University Press, USA
Location:
New York :
Subject:
Film - History & Criticism
Subject:
Performing arts
Subject:
Film, Media,
Subject:
Film, Media, and Performing Arts
Subject:
Film, Media, & Performing Arts
Copyright:
Edition Number:
5
Edition Description:
Includes bibliographical references and index.
Series Volume:
no. 600
Publication Date:
19980806
Binding:
Paperback
Grade Level:
College/higher education:
Language:
Some Points in the Semiotics of Cinema<br></br><br> DANIEL DAYAN: The Tutor-Code of Classical Cinema<br></br><br> WILLIAM ROTHMAN: Against 'The System of Suture'<br></br><br> KAJA SILVERMAN: From The Subject of Semiotics: Suture<br></br><br> NICK BRO
Illustrations:
88 illus.
Pages:
880
Dimensions:
6.1 x 9.2 x 1.5 in 2.6 lb

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Film Theory and Criticism: Introductory Readings Used Trade Paper
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Product details 880 pages Oxford University Press - English 9780195105988 Reviews:
"Synopsis" by , Brought up to date with an expanded range of selections, extended historical coverage, and a dedicated pluralistic commitment, the third edition of this highly popular text on film aesthetics features major additions of contemporary topics in film theory--including psychoanalytic, feminist, and Marxist approaches--and new essays on television, horror films, and experimental movie making.

Of the 53 selections, 13 are new. The section "Kinds of Film" has been retitled "Film Genres" and concentrates exclusively on the distinctions within a single type of film: classical Hollywood narrative cinema. The final section, now called "Film: Psychology, Society, and Ideology" is substantially revised to take into account film's relationship to its consumers: how films shape or reflect cultural attitudes, reinforce or reject dominant modes of cultural thinking, and stimulate or frustrate people's needs and drives. Throughout the book chapter introductions have been rewritten to reflect today's concerns.

Current and comprehensive, the book that The Journal of Aesthetics and Art Criticism called "the best collection available on the disparate comments in the fields of film theory and criticism" is now even better.

"Synopsis" by , The fourth edition of this classic resource is updated to illustrate the most recent approaches in film theory, including semiotic and structuralist imperatives, Marxist historical and Freudian psychoanalytic analysis, and feminist and deconstructionist views, and each section has been revised to show the impact of new thinking on matters such as film language, the film medium, and the film artist. More than half of the contents are new, providing a broad survey of thinking about film over the past eight decades. A comprehensive text for students of film, it is also an invaluable resource for courses in semiotics and modern culture and media.
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