Film Theory and Criticism: Introductory Readings / Edition 5

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Overview


Since publication of the first edition in 1974, Film Theory and Criticism, previously edited by Gerald Mast, Marshall Cohen, and Leo Braudy, has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this fifth edition is ideal for undergraduate and graduate courses in film theory and criticism. Featuring both classic texts and cutting-edge essays from almost a century of thought and writing about the movies, it includes 19 articles new to this edition and new introductions for the individual sections. The sections themselves have been reformulated to help lead readers into a richer understanding of what the movies have and can accomplish both as individual works and as contributions to what has been called "the art form of the twentieth century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this collection stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the context of psychology, sociology, and philosophy and to explore issues of gender and race. A newly conceived section on Film Narrative and the Other Arts has been added, the section on Film Genre has been reorganized to include a special focus on the horror film, and a new subsection of essays addresses the issue of film spectatorship. This volume also features new and more accurate translations of the important essays of Sergei Eisenstein and gives more space to such important theorists as André Bazin and Christian Metz.
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Product Details

  • ISBN-13: 9780195105988
  • Publisher: Oxford University Press, USA
  • Publication date: 7/28/1998
  • Edition description: Older Edition
  • Edition number: 5
  • Pages: 880
  • Product dimensions: 9.20 (w) x 6.10 (h) x 1.50 (d)

Meet the Author

both at the University of Southern California
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Table of Contents

Preface
I Film Language 1
[On Editing] 9
Beyond the Shot [The Cinematographic Principle and the Ideogram] 15
The Dramaturgy of Film Form [The Dialectical Approach to Film Form] 25
The Evolution of the Language of Cinema 43
Toward a Non-Bourgeois Camera Style 57
Some Points in the Semiotics of the Cinema 68
Problems of Denotation in the Fiction Film 75
Semiotics and the Cinema: Metz and Wollen 90
The Discourse of Pictures: Iconicity and Film Studies 99
The Tutor-Code of Classical Cinema 118
Against "The System of the Suture" 130
[On Suture] 137
The Spectator-in-the-Text: The Rhetoric of Stagecoach 148
II Film and Reality 165
Basic Concepts 171
The Cabinet of Dr. Caligari 183
The Ontology of the Photographic Image 195
The Myth of Total Cinema 199
De Sica: Metteur-en-scene 203
The Complete Film 212
Cinematography: The Creative Use of Reality 216
From Metaphors on Vision 228
Colonialism, Racism, and Representation: An Introduction 235
Recent Developments in Feminist Criticism 251
III The Film Medium: Image and Sound 273
Style and Medium in the Motion Pictures 279
The Establishment of Physical Existence 293
The Close-up 304
The Face of Man 306
Film and Reality 312
The Making of a Film 316
The Specificity Thesis 322
Projection 329
Photograph and Screen 334
Audience, Actor, and Star 335
Types; Cycles as Genres 337
Ideas of Origin 342
Ideological Effects of the Basic Cinematographic Apparatus 345
Aural Objects 356
Statement on Sound 360
The Voice in the Cinema: The Articulation of Body and Space 363
Technology and Aesthetics of Film Sound 376
Broadcast TV as Sound and Image 385
IV Film Narrative and the Other Arts 395
The Means of the Photoplay 401
Theater and Cinema 408
Acting: Stage vs. Screen 419
Dickens, Griffith and Ourselves [Dickens, Griffith and Film Today] 426
What Novels Can Do That Films Can't (and Vice Versa) 435
Adaptation 452
Narrative Discourse and the Narrator System 461
The Cinematic Narrator 473
The Concept of Cinematic Excess 487
Godard and Counter Cinema: Vent d'Est 499
V The Film Artist 509
Notes on the Auteur Theory in 1962 515
The Auteur Theory 519
The Face of Garbo 536
Stars as a Cinematic Phenomenon 539
The Role of the Star in Film History [Joan Crawford] 547
Female Stars of the 1940s 562
The Mae West Nobody Knows 576
Valentino and Female Spectatorship 584
"The Whole Equation of Pictures" 602
VI Film Genres 607
Genre: The Conventions of Connection 613
A Semantic/Syntactic Approach to Film Genre 630
Film Genre and the Genre Film 642
Movie Chronicle: The Westerner 654
Ideology, Genre, Auteur 668
The Mummy's Pool 679
The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory 691
Film Bodies: Gender, Genre, and Excess 701
The Art Cinema as a Mode of Film Practice 716
VII Film: Psychology, Society, and Ideology 725
The Work of Art in the Age of Mechanical Reproduction 731
Cinema/Ideology/Criticism 752
The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema 760
Jean-Louis Baudry and "The Apparatus" 778
Preface 795
Identification, Mirror 800
The Passion for Perceiving 808
Disavowal, Fetishism 811
An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator 818
Visual Pleasure and Narrative Cinema 833
Black Spectatorship: Problems of Identification and Resistance 845
Index 855
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  • Anonymous

    Posted January 28, 2002

    Disappointing

    I would not recommend this book for introductory film philosphy classes. The book is written in difficult language which has proven to be a huge obstacle for any college student interested in just the background of film philosophy.

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