Film theory and criticism : introductory readings / edited by Leo Braudy, Marshall Cohen.

By:

Braudy, Leo

Contributor(s):

Cohen, Marshall

Material type: Text

TextPublication details: New York : Oxford University Press, 2004.Edition: 6th edDescription: xviii, 937 p. : ill. ; 24 cmISBN:

0195158172 (alk. paper)

Subject(s):

DDC classification:

791.43 BRA

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
3 Day Loan	LSAD Library Short Loan	791.43 BRA (Browse shelf(Opens below))	1	Checked out	30/06/2020	39002100302034

Enhanced descriptions from Syndetics:

Since publication of the first edition in 1974, Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, André Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism.

Includes bibliographical references and index.

Table of contents provided by Syndetics

Preface (p. XV)
I Film Language (p. 1)
From Film Technique
[On Editing] (p. 7)
From Film Form
Beyond the Shot [The Cinematographic Principle and the Ideogram] (p. 13)
The Dramaturgy of Film Form [The Dialectical Approach to Film Form] (p. 23)
From What Is Cinema?
The Evolution of the Language of Cinema (p. 41)
Toward a Non-Bourgeois Camera Style (p. 54)
From Film Language
Some Points in the Semiotics of the Cinema (p. 65)
Problems of Denotation in the Fiction Film (p. 72)
The Discourse of Pictures: Iconicity and Film Studies (p. 87)
The Tutor-Code of Classical Cinema (p. 106)
The Spectator-in-the-Text: The Rhetoric of Stagecoach (p. 118)
II Film and Reality (p. 135)
From Theory of Film
Basic Concepts (p. 143)
From From Caligari to Hitler
The Cabinet of Dr. Caligari (p. 154)
From What Is Cinema?
The Ontology of the Photographic Image (p. 166)
The Myth of Total Cinema (p. 170)
De Sica: Metteur-en-scene (p. 174)
From Film as Art
The Complete Film (p. 183)
Cinematography: The Creative Use of Reality (p. 187)
From Metaphors on Vision (p. 199)
The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema (p. 206)
From Mystifying Movies
Jean-Louis Baudry and "The Apparatus," (p. 224)
From Cinema 1 and Cinema 2
Preface to the English Edition (p. 240)
The Origin of the Crisis: Italian Neo-realism and the French New Wave (p. 242)
Beyond the Movement-Image (p. 250)
True Lies: Perceptual Realism, Digital Images, and Film Theory (p. 270)
III The Film Medium: Image and Sound (p. 283)
Style and Medium in the Motion Pictures (p. 289)
From Theory of Film
The Establishment of Physical Existence (p. 303)
From Theory of the Film
The Close-up (p. 314)
The Face of Man (p. 315)
From Film as Art
Film and Reality (p. 322)
The Making of a Film (p. 326)
From Philosophical Problems of Classical Film Theory
The Specificity Thesis (p. 332)
From Film/Cinema/Movie
Projection (p. 339)
From The World Viewed
Photograph and Screen (p. 344)
Audience, Actor, and Star (p. 345)
Types; Cycles as Genres (p. 347)
Ideas of Origin (p. 352)
Ideological Effects of the Basic Cinematographic Apparatus (p. 355)
Aural Objects (p. 366)
Statement on Sound (p. 370)
The Voice in the Cinema: The Articulation of Body and Space (p. 373)
Technology and Aesthetics of Film Sound (p. 386)
From Visible Fictions
Broadcast TV as Sound and Image (p. 395)
IV Film Narrative and the Other Arts (p. 405)
From The Film: A Psychological Study
The Means of the Photoplay (p. 411)
From What Is Cinema?
Theater and Cinema (p. 418)
From The World in a Frame
Acting: Stage vs. Screen (p. 429)
Dickens, Griffith, and Ourselves [Dickens, Griffith, and Film Today] (p. 436)
What Novels Can Do That Films Can't (and Vice Versa) (p. 445)
From Concepts in Film Theory
Adaptation (p. 461)
Narrative Discourse and the Narrator System (p. 470)
Film Music and Narrative Agency (p. 482)
The Concept of Cinematic Excess (p. 513)
Godard and Counter Cinema: Vent d'Est (p. 525)
'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style (p. 534)
V The Film Artist (p. 555)
Notes on the Auteur Theory in 1962 (p. 561)
From Signs and Meaning in the Cinema
The Auteur Theory (p. 565)
How Howard Hawks Brought Baby Up: An Apologia for the Studio System (p. 581)
The Face of Garbo (p. 589)
From The Material Ghost
[Keaton and Chaplin] (p. 592)
From Visible Fictions
Stars as a Cinematic Phenomenon (p. 598)
From Film History: Theory and Practice
The Role of the Star in Film History [Joan Crawford] (p. 606)
From From Reverence to Rape
Female Stars of the 1940s (p. 620)
Pleasure, Ambivalence, Identification
Valentino and Female Spectatorship (p. 634)
From The Genius of the System
"The Whole Equation of Pictures" (p. 652)
VI Film Genres (p. 657)
From The World in a Frame
Genre: The Conventions of Connection (p. 663)
A Semantic/Syntactic Approach to Film Genre (p. 680)
From Hollywood Genres
Film Genre and the Genre Film (p. 691)
Movie Chronicle: The Westerner (p. 703)
Ideology, Genre, Auteur (p. 717)
Film Bodies: Gender, Genre, and Excess (p. 727)
Feminist Frameworks for Horror Films (p. 742)
The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory (p. 764)
The Art Cinema as a Mode of Film Practice (p. 774)
VII Film: Psychology, Ideology, and Technology (p. 783)
The Work of Art in the Age of Mechanical Reproduction (p. 791)
Cinema/Ideology/Criticism (p. 812)
From The Imaginary Signifier
Identification, Mirror (p. 820)
The Passion for Perceiving (p. 827)
Disavowal, Fetishism (p. 831)
Visual Pleasure and Narrative Cinema (p. 837)
From The Women Who Knew Too Much: Hitchcock and Feminist Theory
The Master's Dollhouse: Rear Window (p. 849)
An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator (p. 862)
Colonialism, Racism, and Representation: An Introduction (p. 877)
Black Spectatorship: Problems of Identification and Resistance (p. 892)
Digital Cinema: A False Revolution (p. 901)
The End of Cinema: Multimedia and Technological Change (p. 914)
Index (p. 927)

Author notes provided by Syndetics

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