Theorizing the Moving Image / Edition 1

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Overview

Written by a leading film critic, this volume consists of penetrating analyses of soap opera, documentary, comedy, sight gags, film metaphor, point-of-view editing, movie music, etc. Containing in depth criticism of existing approaches, the essays represent the cognitivist turn in film studies.
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Editorial Reviews

From the Publisher
"Professor Carroll has, in one densely packed collection of thought-provoking essays, forever changed the past, present and future of film theory. His rationale reintroduces creativity to a genre burdened with well-intentioned, but ultimately binding and counter-productive rules imposed by an emerging pool of critics. Professor Carroll answers his own critics with clarity and objectivity, and gives logical arguments in favor of a new approach. This volume will, no doubt, perplex and provoke students of film theory for years to come." Midwest Book Review

"For its breadth of scholarship, its fecundity of ideas, and its rigor in argument, Theorizing the Moving Image deserves a place on the shelves of anyone interested in the study of film." Journal of Aesthetics and Art Criticism

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Product Details

  • ISBN-13: 9780521466073
  • Publisher: Cambridge University Press
  • Publication date: 4/28/1996
  • Series: Cambridge Studies in Film Series
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 452
  • Product dimensions: 5.98 (w) x 8.98 (h) x 0.91 (d)

Table of Contents

Acknowledgments
Foreword
Introduction
I Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography 3
II The Specificity of Media in the Arts 25
III Concerning Uniqueness Claims for Photographic and Cinematographic Representation 37
IV Defining the Moving Image 49
V The Power of Movies 78
VI Toward a Theory of Film Suspense 94
VII As the Dial Turns: Notes on Soap Operas 118
VIII Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies 125
IX Notes on Movie Music 139
X Notes on the Sight Gag 146
XI Avant-Garde Film and Film Theory 162
XII Causation, the Ampliation of Movement and Avant-Garde Film 169
XIII Language and Cinema: Preliminary Notes for a Theory of Verbal Images 187
XIV A Note on Film Metaphor 212
XV From Real to Reel: Entangled in Nonfiction Film 224
XVI Reply to Carol Brownson and Jack C. Wolf 253
XVII The Image of Women in Film: A Defense of a Paradigm 260
XVIII Film, Rhetoric, and Ideology 275
XIX Film/Mind Analogies: The Case of Hugo Munsterberg 293
XX Hans Richter's Struggle for Film 305
XXI A Brief Comment on Frampton's Notion of Metahistory 313
XXII Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland 321
XXIII Cracks in the Acoustic Mirror 336
XXIV A Reply to Health 343
XXV Replies to Hammett and Allen 360
XXVI Film History and Film Theory: An Outline for an Institutional Theory of Film 375
XXVII Art, Film and Ideology: A Response to Blaine Allan 392
XXVIII Toward a Theory of Film Editing 403
Index 421
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