Critical Visions in Film Theory
First EditionTimothy Corrigan; Patricia White; Meta Mazaj
©2011
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Combining classic conversations about film form, genre, and authorship with new debates around race, gender and sexuality, as well as new media, Critical Visions in Film Theory encompasses the broader, more inclusive perspective of film theory today. Embracing goundbreaking approaches in the field without ignoring the history, this text gives you context and the tools necessary to critically engage with theory and apply it to your own film experiences.
Table of Contents
Preface
PART 1 Experiencing Film: From Perception to Reception
PLATO From Republic
The Allegory of the Cave
HUGO MÜNSTERBERG Why We Go to the Movies
CHRISTIAN METZ From The Imaginary Signifier
Loving the Cinema
Identifi cation, Mirror
Disavowal, Fetishism
JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematographic Apparatus
The Allegory of the Cave
HUGO MÜNSTERBERG Why We Go to the Movies
CHRISTIAN METZ From The Imaginary Signifier
Loving the Cinema
Identifi cation, Mirror
Disavowal, Fetishism
JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematographic Apparatus
GREGORY CURRIE Film, Reality, and Illusion
VIVIAN SOBCHACK From The Address of the Eye
Phenomenology and Film Experience
TOM GUNNING The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde
STUART HALL Encoding/Decoding
JUDITH MAYNE Paradoxes of Spectatorship
VIVIAN SOBCHACK From The Address of the Eye
Phenomenology and Film Experience
TOM GUNNING The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde
STUART HALL Encoding/Decoding
JUDITH MAYNE Paradoxes of Spectatorship
PART 2 The Sights, Sounds, and Signs of Cinema
JOHN BERGER From Ways of Seeing
BÉLA BALÁZS From Theory of the Film
The Creative Camera
The Close-Up
The Face of Man
LEV KULESHOV The Principles of Montage
MAYA DEREN Cinematography: The Creative Use of Reality
MICHEL CHION From The Voice in Cinema
The Acousmêtre
CLAUDIA GORBMAN From Unheard Melodies
Classical Hollywood Practice
GILLES DELEUZE From Cinema II: The Time-Image
Preface
Recapitulation of Images and Signs
Conclusions
JAMES NAREMORE From Acting in the Cinema
Protocols
PAUL WELLS From Understanding Animation
Notes Towards a Theory of Animation
The Face of Man
LEV KULESHOV The Principles of Montage
MAYA DEREN Cinematography: The Creative Use of Reality
MICHEL CHION From The Voice in Cinema
The Acousmêtre
CLAUDIA GORBMAN From Unheard Melodies
Classical Hollywood Practice
GILLES DELEUZE From Cinema II: The Time-Image
Preface
Recapitulation of Images and Signs
Conclusions
JAMES NAREMORE From Acting in the Cinema
Protocols
PAUL WELLS From Understanding Animation
Notes Towards a Theory of Animation
PART 3 Modernism and Realism: Debates in Classical
Film Theory
WALTER BENJAMIN The Work of Art in the Age of Its Technological Reproducibility (Second Version)
JEAN EPSTEIN Photogénie and the Imponderable
DZIGA VERTOV Film Directors: A Revolution
SERGEI EISENSTEIN The Dramaturgy of Film Form (The Dialectical Approach to Film Form)
RUDOLF ARNHEIM From Film as Art
Film and Reality
SIEGFRIED KRACAUER From Theory of Film
Basic Concepts
Inherent Affi nities
ANDRÉ BAZIN From What Is Cinema?
The Ontology of the Photographic Image
The Evolution of the Language of Cinema
MIRIAM HANSEN The Mass Production of the Senses: Classical Cinema as Vernacular Modernism
PART 4 Auteurism: Directors, Stars, and Beyond
ROLAND BARTHES The Death of the Author
ALEXANDRE ASTRUC The Birth of a New Avant-Garde: La Caméra-Stylo
ANDREW SARRIS The Auteur Theory Revisited
PETER WOLLEN From Signs and Meaning in the Cinema
The Auteur Theory
TANIA MODLESKI From The Women Who Knew Too Much
Hitchcock, Feminism, and the Patriarchal Unconscious
JUDITH MAYNE Lesbian Looks: Dorothy Arzner and Female Authorship
RICHARD DYER From Stars
TIMOTHY CORRIGAN From A Cinema without Walls
The Commerce of Auteurism
JEROME CHRISTENSEN Studio Authorship, Corporate Art
PART 5 Genre: Classifying Stories
ARISTOTLE From Poetics
The Origins of Tragedy, Comedy and Epic
THOMAS SCHATZ From Hollywood Genres
Film Genre and the Genre Film
RICHARD DYER Entertainment and Utopia
JEAN-LOUIS COMOLLI and JEAN NARBONI Cinema/Ideology/Criticism
RICK ALTMAN From Film/Genre
A Semantic/Syntactic/Pragmatic Approach to Genre
THOMAS ELSAESSER Tales of Sound and Fury: Observations on the Family Melodrama
CAROL J. CLOVER From Men, Women, and Chain Saws
Her Body, Himself
PART 6 Narrative: Telling Stories
TZVETAN TODOROV Structural Analysis of Narrative
ROBERT STAM Beyond Fidelity: The Dialogics of Adaptation
DAVID BORDWELL From Poetics of Cinem
The Art Cinema as a Mode of Film Practice
TERESA DE LAURETIS From Alice Doesn’t
Desire in Narrative
MANTHIA DIAWARA Black American Cinema: The New Realism
JANE FEUER Narrative Form in American Network Television
HENRY JENKINS From Convergence Culture
Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling
PART 7 Alternative Modes: Experimental and Documentary Film
CHARLES BAUDELAIRE The Salon of 1859: The Modern Public and Photography
GERMAINE DULAC The Avant-Garde Cinema
JOHN GRIERSON First Principles of Documentary
STAN BRAKHAGE In Consideration of Aesthetics
BILL NICHOLS From Blurred Boundaries
Performing Documentary
DOGME 95
Manifesto
Vow of Chastity
TRINH T. MINH-HA Documentary Is/Not a Name
DOGME 95
Manifesto
Vow of Chastity
TRINH T. MINH-HA Documentary Is/Not a Name
PART 8 Sexuality and Gender in Cinema: From Psychoanalysis to Performativity
SIGMUND FREUD On Fetishism
LAURA MULVEY Visual Pleasure and Narrative Cinema
LINDA WILLIAMS “Something Else Besides a Mother”
KOBENA MERCER Dark and Lovely Too: Black Gay Men in Independent Film
YVONNE TASKER Dumb Movies for Dumb People: Masculinity, the Body, and the Voice in Contemporary Action Cinema
B. RUBY RICH New Queer Cinema
LINDA WILLIAMS Porn Studies: Proliferating Pornographies On/Scene
PART 9 Race and Ethnicity in Cinema: From Stereotypes to Self-Representation
FRANTZ FANON From Black Skin, White Masks
The Fact of Blackness
ELLA SHOHAT and ROBERT STAM From Unthinking Eurocentrism
Stereotype, Realism, and the Struggle over Representation
RICHARD DYER White
FATIMAH TOBING RONY From The Third Eye
King Kong and the Monster in Ethnographic Cinema
ANA M. LÓPEZ Are All Latins from Manhattan?
TONI CADE BAMBARA Reading the Signs, Empowering the Eye
FAYE GINSBURG Screen Memories and Entangled Technologies
PART 10 National and Transnational Film Histories
BENEDICT ANDERSON From Imagined Communities
CESARE ZAVATTINI Some Ideas on the Cinema
FERNANDO SOLANAS and OCTAVIO GETINO Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World
STEPHEN CROFTS Reconceptualizing National Cinema/s
JYOTIKA VIRDI From The Cinematic ImagiNation
Nation and Its Discontents
HAMID NAFICY From An Accented Cinema
Situating Accented Cinema
DUDLEY ANDREW An Atlas of World Cinema
PART 11 Screen Cultures: Current Debates
THEODOR W. ADORNO and MAX HORKHEIMER From The Dialectic of Enlightenment
The Culture Industry: Enlightenment as Mass Deception
FREDRIC JAMESON Postmodernism and Consumer Society
LISA NAKAMURA From Digitizing Race
The Social Optics of Race and Networked Interfaces in The Matrix Trilogy and Minority Report
LEV MANOVICH From The Language of New Media
What Is Digital Cinema?
ALEXANDER R. GALLOWAW From Gaming
Origins of the First-Person Shooter
LAWRENCE LESSIG From Remix
RW, Revived
LAURIE OUELLETTE “Take Responsibility for Yourself”: Judge Judy and the Neoliberal Citizen
D. N. RODOWICK An Elegy for Theory
APPENDIX A: Alternative Tables of Contents
APPENDIX B: Film Pairings for Studying Film Theory
Acknowledgments
Index