The Film Experience is a comprehensive introduction to film that treats students as the avid movie fans they are while surpassing all other texts in helping them understand the art form’s full scope, breadth, and depth. Like other introductory texts, it offers strong coverage of film’s formal elements, but goes further by situating this formal knowledge in the larger cultural contexts that inform the ways that we all view film. The authors’ rich narrative integrates the cultural history of film throughout and demonstrates how the elements, practices, economics, and history of the medium contribute to a film’s many possible meanings. The outstanding art program — now in full color — visually reinforces all the key concepts and techniques discussed in the text.
Also see Dennis McManus, “Ontological Pluralism and the Being and Time Project,” Journal of the History of Philosophy 51(4) (2013): 669. 18. Nicholson, “Truth as a Phenomenon,” 813–14. Daniel Dahlstrom, “Heidegger's Method: ...
For the first time this volume makes Jean-Pierre Meunier's insightful thoughts on the film experience available for an English-speaking readership.
Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied ...
This is an original contribution to an emerging field of research and will become essential reading for film scholars.
And what visions did it privilege? In this brilliant book, acclaimed film scholar Francesco Casetti situates the cinematic experience within discourses of twentieth-century modernity.
These are some of the questions J. P. Telotte and twelve other noted film scholars consider in this groundbreaking study of the cult film.
In Moving Viewers, Carl Plantinga explores this question and the implications of its answer for aesthetics, the psychology of spectatorship, and the place of movies in culture.
This introductory title aims to make ideas and procedures in film studies more accessible. The title is organized around story, character and spectacle. Each chapter makes references to two films,...
... Trauma and the Psychology of Secrets in Transnational Film Deborah Lynn Porter 59 Melodrama, Self and Nation in Post-War British Popular Film Johanna Laitila 60 Emotion in Animated Films Edited by Meike Uhrig 61 Post-Production and ...
Which ones? Why? These questions, and many others like them, represent the mainstream of scholarly film studies today. In Engaging Cinema, Bill Nichols offers the first book for introductory film students that tackles these topics head-on.