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Film Theory and Criticism: Introductory Readings

Film Theory and Criticism: Introductory Readings Cover

 

Synopses & Reviews

Publisher Comments:

Volume VI of Cancer Incidence in Five Continents provides compilations of cancer incidence from 142 registries covering 170 populations in 46 countries, for the years 1983-87. Age-specific, age-standardized, truncated and cumulative incidence rates are given for all malignant categories of

cancer by sex and for each population. The raw data are contributed by population-based registries throughout the world, and are subjected to a series of validity and quality control tests before being processed in a standard manner. This series of publications presents data on cancer incidence from

different parts of the world which can be used with confidence, and every effort is made to ensure that the rates are truly comparable from one area and ethnic group to another. To ensure that this is so, the data are subjected to a detailed editorial review once they have been checked and

processed, and data which appear unreliable are not published in this series. The book includes commentary and tables on the various indicators of quality used. For the first time, the data in the book are also available on computer medium. A diskette is provided, giving incidence (at the 3-digit

level of ICD-9), mortality and population figures for each of the populations included in Volume VI. The software is simple and easy to use, with options displayed in windows and selected by using a given key. The options include facilities to compute standardized, cumulative or age-specific

incidence rates using a subset of registries and sites; the results of which can be exported to an ASCII text file or represented as a pie or bar chart.

Synopsis:

The sixth edition of Film Theory and Criticism focuses on the evolving discussion of what constitutes film reality and film language. From the first efforts to understand film at the beginning of the twentieth century to the most recent thoughts on the impact of digital technology, the book covers the most significant issues about the moving image and the audiences that appreciate it and seek it out.

Synopsis:

Since publication of the first edition in 1974, Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race.

The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, André Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism.

Table of Contents

Preface

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

STEPHEN PRINCE

The Discourse of Pictures: Iconicity and Film Studies

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

JEAN-LOUIS BAUDRY

The Apparatus: Metaphysical Approaches to the Impression of Reality in Cinema

NOEL CARROLL

From Mystifying Movies

Jean-Louis Baudry and "The Apparatus"

STEPHEN PRINCE

True Lies: Perceptual Realism, Digital Images, and Film Theory

GILLES DELEUZE

From Cinema

Preface to the English Edition

The Origin of Crisis: Italian Neo-realism and the French New Wave

Beyond the Movement-Image

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

KRISTIN THOMPSON

The Concept of Cinematic Excess

JEFFREY SCONCE

'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style

PETER WOLLEN

Godard and Counter Cinema: Vent d'Est

JERROLD LEVINSON

Film Music and Narrative Agency

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

RICHARD B. JEWELL

How Howard Hanks Brought Baby Up: An Apologia for the Studio System

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

MIRIAM HANSEN

Pleasure, Ambivalence, Identification

Valentino and Female Spectatorship

THOMAS SCHATZ, from The Genius of the System

Introduction

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

LINDA WILLIAMS

Film Bodies: Gender, Genre, and Excess

CYNTHIA A. FREELAND

Feminist Frameworks for Horror Films

TANIA MODLESKI

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

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

CHRISTIAN METZ, from The Imaginary Signifier

Identification, Mirror

The Passion for Perceiving

Fetishism, Disavowal

TOM GUNNING

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

LAURA MULVEY

Film and Visual Pleasure

TANIA MODLESKI

From The Women Who Knew Too Much: Hitchcock and Feminist Theory

The Master's Dollhouse: Rear Window

ROBERT STAM AND LOUISE SPENCE

Colonialism, Racism, and Representation: An Introduction

MANTHIA DIAWARA

Black Spectatorship: Problems of Identification and Resistance

JOHN BELTON

Digital Cinema: A False Revolution

ANNE FRIEDBERG

The End of Cinema: Multi-Media and Technological Change

Index

Product Details

ISBN:
9780195158175
Subtitle:
Introductory Readings
Editor:
Braudy, Leo
Editor:
Braudy, Leo
Editor:
Cohen, Marshall
Author:
null, Leo
Author:
Braudy, Leo
Author:
Cohen, Marshall
Author:
null, Marshall
Editor:
Cohen, Marshall
Other:
Braudy, Leo
Publisher:
Oxford University Press
Location:
New York
Subject:
Film - History & Criticism
Subject:
Performing arts
Subject:
Motion pictures
Subject:
Film & Video - History & Criticism
Subject:
Film, Media,
Subject:
Communication | Film
Subject:
Television Studies
Subject:
Communication | Film and Television Studies
Subject:
Film, Media, and Performing Arts
Subject:
Communication | Film & Television Studies
Edition Number:
6
Edition Description:
Sixth
Series Volume:
97/102
Publication Date:
20040311
Binding:
Paperback
Grade Level:
College/higher education:
Language:
English
Illustrations:
88 illus.
Pages:
960
Dimensions:
6.1 x 9.2 x 1.8 in 2.919 lb

Related Subjects

Arts and Entertainment » Film and Television » Film History and Theory
Arts and Entertainment » Film and Television » General
Arts and Entertainment » Film and Television » History and Criticism

Film Theory and Criticism: Introductory Readings
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Product details 960 pages Oxford University Press - English 9780195158175 Reviews:
"Synopsis" by , The sixth edition of Film Theory and Criticism focuses on the evolving discussion of what constitutes film reality and film language. From the first efforts to understand film at the beginning of the twentieth century to the most recent thoughts on the impact of digital technology, the book covers the most significant issues about the moving image and the audiences that appreciate it and seek it out.

"Synopsis" by , Since publication of the first edition in 1974, Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race.

The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, André Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism.

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