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Film Theory and Criticism : Introductory Readings

ISBN: 9780195158175 | 0195158172
Edition: 6th
Format: Paperback
Publisher: Oxford University Press, USA
Pub. Date: 3/11/2004

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SummaryTable of ContentsAuthor Biography
Since publication of the first edition in 1974, Film Theory and Criticism has been the standard anthology of critical writing about film. The sixth edition continues to highlight both classic and cutting edge essays from more than a century of thought and writing, with contributors ranging from Sergei Eisenstein and Vsevolod Pudovkin to the latest scholars writing on the impact of digital technology on the film industry; recent considerations of issues such as the sociological, psychological and philosophical dimensions of film; and controversi... MORE
Preface,xv
I Film Language1(134)
VSEVOLOD PUDOVKIN
From Film Technique
... MORE[On Editing],
7(6)
SERGEI EISENSTEIN
From Film Form
Beyond the Shot [The Cinematographic Principle and the Ideogram],
13(10)
The Dramaturgy of Film Form [The Dialectical Approach to Film Form],
23(18)
ANDRÉ BAZIN
From What Is Cinema?
The Evolution of the Language of Cinema,
41(13)
BRIAN HENDERSON
Toward a Non-Bourgeois Camera Style,
54(11)
CHRISTIAN METZ
From Film Language
Some Points in the Semiotics of the Cinema,
65(7)
Problems of Denotation in the Fiction Film,
72(15)
STEPHEN PRINCE
The Discourse of Pictures: Iconicity and Film Studies,
87(19)
DANIEL DAYAN
The Tutor-Code of Classical Cinema,
106(12)
NICK BROWNE
The Spectator-in-the-Text: The Rhetoric of Stagecoach,
118(17)
II Film and Reality135(148)
SIEGFRIED KRACAUER
From Theory of Film Basic Concepts,
143(11)
SIEGFRIED KRACAUER
From From Caligari to Hitler The Cabinet of Dr. Caligari,
154(12)
ANDRÉ BAZIN
From What Is Cinema?
The Ontology of the Photographic Image,
166(4)
The Myth of Total Cinema,
170(4)
De Sica: Metteur-en-scene,
174(9)
RUDOLF ARNHEIM
From film as Art
The Complete Film,
183(4)
MAYA DEREN
Cinematography: The Creative Use of Reality,
187(12)
STAN BRAKHAGE
From Metaphors on Vision,
199(7)
JEAN-LOUIS BAUDRY
The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema,
206(18)
NOËL CARROLL
From Mystifying Movies
Jean-Louis Baudry and "The Apparatus,"
224(16)
GILLES DELEUZE
From Cinema I and Cinema 2
Preface to the English Edition,
240(2)
The Origin of the Crisis: Italian Neo-realism and the French New Wave,
242(8)
Beyond the Movement-Image,
250(20)
STEPHEN PRINCE
True Lies: Perceptual Realism, Digital Images, and Film Theory,
270(13)
III The Film Medium: Image and Sound283(122)
ERWIN PANOFSKY
Style and Medium in the Motion Pictures,
289(14)
SIEGFRIED KRACAUER
From Theory of Film
The Establishment of Physical Existence,
303(11)
BÉLA BALÁSZ
From Theory of the Film
The Close-up,
314(1)
The Face of Man,
315(7)
RUDOLF ARNHEIM
From Film as Art
Film and Reality,
322(4)
The Making of a Film,
326(6)
NOËL CARROLL
From Philosophical Problems of Classical Film Theory
The Specificity Thesis,
332(7)
GERALD MAST
From Film/Cinema/Movie
Projection,
339(5)
STANLEY CAVELL
From The World Viewed
Photograph and Screen,
344(1)
Audience, Actor, and Star,
345(2)
Types; Cycles as Genres,
347(5)
Ideas of Origin,
352(3)
JEAN-LOUIS BAUDRY
Ideological Effects of the Basic Cinematographic Apparatus,
355(11)
CHRISTIAN METZ
Aural Objects,
366(4)
SERGEI EISENSTEIN, VSEVOLOD PUDOVKIN, AND GRIGORI ALEXANDROV
Statement on Sound,
370(3)
MARY ANN DOANE
The Voice in the Cinema: The Articulation of Body and Space,
373(13)
JOHN BELTON
Technology and Aesthetics of Film Sound,
386(9)
JOHN ELLIS
From Visible Fictions
Broadcast TV as Sound and Image,
395(10)
IV Film Narrative and the Other Arts405(150)
HUGO MÜNSTERBERG
From The Film: A Psychological Study
The Means of the Photoplay,
411(7)
ANDRÉ BAZIN
From What Is Cinema?
Theater and Cinema,
418(11)
LEO BRAUDY
From The World in a Frame
Acting: Stage vs. Screen,
429(7)
SERGEI EISENSTEIN
Dickens, Griffith, and Ourselves [Dickens, Griffith, and Film Today],
436(9)
SEYMOUR CHATMAN
What Novels Can Do That Films Can't (and Vice Versa),
445(16)
DUDLEY ANDREW
From Concepts in Film Theory
Adaptation,
461(9)
TOM GUNNING
Narrative Discourse and the Narrator System,
470(12)
JERROLD LEVINSON
Film Music and Narrative Agency,
482(31)
KRISTIN THOMPSON
The Concept of Cinematic Excess,
513(12)
PETER WOLLEN
Godard and Counter Cinema: Vent d'Est,
525(9)
JEFFREY SCONCE
'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style,
534(21)
V The Film Artist555(102)
ANDREW SARRIS
Notes on the Auteur Theory in 1962,
561(4)
PETER WOLLEN
From Signs and Meaning in the Cinema
The Auteur Theory,
565(16)
RICHARD B. JEWELL
How Howard Hawks Brought Baby Up: An Apologia for the Studio System,
581(8)
ROLAND BARTRES
The Face of Garbo,
589(3)
GILBERTO PEREZ
From The Material Ghost
[Keaton and Chaplin],
592(6)
JOHN ELLIS
From Visible Fictions
Stars as a Cinematic Phenomenon,
598(8)
ROBERT C. ALLEN
From Film History: Theory and Practice
The Role of the Star in Film History [Joan Crawford],
606(14)
MOLLY HASKELL
From From Reverence to Rape
Female stars of the 1940's,
620(14)
MIRIAM HANSEN
Pleasure, Ambivalence, Identification
Valentino and Female Spectatorship,
634(18)
THOMAS SCHATZ
From The Genius of the System
"The Whole Equation of Pictures,"
652(5)
VI Film Genres657(126)
LEO BRAUDY
From The World in a Frame
Genre: The Conventions of Connection,
663(17)
RICK ALTMAN
A Semantic/Syntactic Approach to Film Genre,
680(11)
THOMAS SCHATZ
From Hollywood Genres
Film Genre and the Genre Film,
691(12)
ROBERT WARSHOW
Movie Chronicle: The Westerner,
703(14)
ROBIN WOOD
Ideology, Genre, Auteur,
717(10)
LINDA WILLIAMS
Film Bodies: Gender, Genre, and Excess,
727(15)
CYNTHIA A. FREELAND
Feminist Frameworks for Horror Films,
742(22)
TANIA MODLESKI
The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory,
764(10)
DAVID BORDWELL
The Art Cinema as a Mode of Film Practice,
774(9)
VII Film: Psychology, Ideology, and Technology783(144)
WALTER BENJAMIN
The Work of Art in the Age of Mechanical Reproduction,
791(21)
JEAN-LUC COMOLLI AND JEAN NARBONI
Cinema/Ideology/Criticism,
812(8)
CHRISTIAN METZ
From The Imaginary Signifier
Identification, Mirror,
820(7)
The Passion for Perceiving,
827(4)
Disavowal, Fetishism,
831(6)
LAURA MULVEV
Visual Pleasure and Narrative Cinema,
837(12)
TANIA MODLESKI
From The Women Who Knew Too Much: Hitchcock and Feminist Theory
The Master's Dollhouse: Rear Window,
849
TOM GUNNING
An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator,
862(15)
ROBERT STAM AND LOUISE SPENCE
Colonialism, Racism, and Representation: An Introduction,
877(15)
MANTHIA DIAWARA
Black Spectatorship: Problems of Identification and Resistance,
892(9)
JOHN BELTON
Digital Cinema: A False Revolution,
901(13)
ANNE FRIEDBERG
The End of Cinema: Multimedia and Technological Change,
914(13)
Index,927
Leo Braudy is University Professor and Bing Professor of English at the University of Southern California Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California

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