Synopses & Reviews
With a common focus on the decisions made by filmmakers, the essays in this collection explore different aspects of the relationship between textual detail and broader conceptual frameworks. These texts reflect not only those areas of film history which have traditionally been explored through mise-en-scène criticism, but also areas such as the avant-garde and television drama which have not tended to receive such detailed investigation. In these ways, the book conducts a series of dialogues with issues in film study which are specifically provoked by close analysis.
About the Author
is Senior Lecturer in Film and Television at the University of the Arts, London.
Douglas Pye is Senior Lecturer in Film in the Department of Film, Theatre and Television at the University of Reading.
Table of Contents
Introduction--John Gibbs and Douglas Pye * Where is the world?: the horizon of events in movie fiction--V.F. Perkins * From detail to meaning: Badlands
(Terence Malick, 1973) and cinematic articulation--Jonathan Bignell * Narrative and visual pleasures in The Scarlet Empress
(Josef von Sternberg, 1934)--George M. Wilson * The dandy and the magdalen: interpreting the long take in Hitchcock's Under Capricorn
(1949)--Ed Gallafent * Character interiority: Space, point of view and performance in Hitchcock's Vertigo
(1958)--Neill Potts * Narration, point of view and patterns in the soundtrack of Letter From An Unknown Woman
(Max Ophuls, 1948)--Steve Neale * Revisiting Preminger: Bonjour Tristesse
and close reading--John Gibbs and Douglas Pye * Meaning and value in The Jazz Singer
(Alan Crosland, 1927)--Corin Willis * A Hollywood art film: Liebestraum
(Mike Figgis, 1991)--Michael Walker * Swimming and sinking: form and meaning in an avant garde film--Jim Hillier * 'Knowing one's place': frame-breaking, embarrassment and irony in La Cérémonie
(Claude Chabrol, 1995)--Deborah Thomas * 'Television aesthetics' and close analysis: style, mood and engagement in Perfect Strangers
(Stephen Poliakoff, 2001)--Sarah Cardwell * How cinematography creates meaning in Happy Together
(Wong Kar-Wai, 1997)--Cathy Greenhalgh * Notes on teaching film style--Andrew Klevan * Repetition and return: textual analysis and Douglas Sirk in the twenty-first century--Laura Mulvey