A Companion to Film Theory
Language: English
Pages: 436
ISBN: 0631206450
Format: PDF / Kindle (mobi) / ePub
This volume of specially commissioned work by experts in the field of film studies provides a comprehensive overview of the field. Its international and interdisciplinary approach will have a broad appeal to those interested in this multifaceted subject.
- Provides a major collection of specially commissioned work by experts in the field of film studies.
- Represents material under a variety of headings, including class, race, gender, queer theory, nation, stars, ethnography, authorship, and spectatorship.
- Offers an international approach to the subject, including coverage of topics such as genre, image, sound, editing, culture industries, early cinema, classical Hollywood, and TV relations and technology.
- Includes concise chapter-by-chapter accounts of the background and current approaches to each topic, followed by a prognostication on the future.
- Considers cinema studies in relation to other forms of knowledge, such as critical studies, anthropology, and literature.
Todd Haynes: Interviews (Conversations with Filmmakers)
The New Wave (30th Anniversary Edition)
Last Words: Considering Contemporary Cinema
emphasis from forms of domination to processes of exploitation, Wright (1989) was forced to double the number of classes in the occupational scheme, as well as to develop increasingly sophisticated theoretical and statistical procedures to map synchronic positions and mobility among them. Although he has not been able to produce a model that can satisfactorily account for multiple intermediary classes, neither has he abandoned either the general project or its Marxist foundations. Given the
Eisenstein’s “Dickens, Griffith and the Film Today.” Significantly, the essay identifies film editing as the central feature that connects the two arts. As Eisenstein notes: “Griffith arrived at montage through the method of parallel action, and he was led to the idea of parallel action by Dickens!” (1974: 303). Having stated this, Eisenstein proceeds to analyze the << montage structure” of Dickens’s writing, along with its strong visual quality (304). Seeing the limitations of overstating the
cinematic specificity but with the way specific and nonspecific codes combine in a particular film. Two background assumptions of Language and Cinema not evident in Metz’s previous film semiotics are that: “( 1) the specificity which interests semiotics is the specificity of codes, not the ‘crude’ specificity of physical signifiers; (2) the specificity of specific codes nevertheless refers to certain features of the material of expression” (Metz 1974b: 219) Earlier, Metz stated: there is a great
film theorist. ~ ~ ~ 108 Cognitivism 5 Cognitivism and Perceptual Psychology As well as rejecting the orthodox theorist’s commitment to depth psychology, cognitivists have questioned the semiotic assumption that film can be understood as, or in any interesting way akin to, a language, arguing that there is a fundamental difference between the ways in which words and sentences on the one hand, and images on the other are processed (Carroll, 1988; Currie 1995a: ch. 4). While studies in the
There was a tension, however, between Truffaut’s existentialist ideas, which made him sympathetic to a Bazinian or “open” cinema of the kind practiced by Renoir and Rosselini, and his equally strong love of genre directors like Fuller and modernist auteurs like Welles. Whatever attitude he may have had toward phenomenal reality, it seems clear that what chiefly attracted Truffaut to the Americans was their sense of fairy tales or pure artifice. As Leo Braudy has 12 Authorship pointed out,
