This book is a lively and provoking introduction to film theory. It is suitable for students from any discipline but is particularly aimed at students studying film and literature as it examines issues common to both subjects such as realism, illusionism, narration, point of view, style, semiotics, psychoanalysis and multiculturalism. It also includes coverage of theorists common to both, Barthes, Lacan and Bakhtin among others. Robert Stam, renowned for his clarity of writing, will also include studies of cinema specialists providing readers with a depth of reference not generally available outside the field of film studies itself. Other material covered includes film adaptations of works of literature and analogies between literary and film criticism.
This anthology charts the history of those debates, bringing together the key, classic essays in feminist film theory.
As such, the book will look at subjects including semiotics and strucutalism, psychoanalysis, formalist film theory, cognitive approaches and neoformalism.
The book consists of nine chapters that closely examine a series of canonical film books and essays in great detail, by Peter Wollen, Laura Mulvey, Thomas Elsaesser, Stephen Heath, and Slavoj Žižek, among others.
Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories.
That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theories – from the classical period to today – in this ...
In this innovative book, Sarah Cooper revisits the history of film theory in order to bring to the fore the neglected concept of the soul and to trace its changing fortunes.
Did “Jim” Bowie and “Davy” Crockett die as heroically as Jason Patric and Billy Bob Thornton represented them in the film? Does it matter? Isn't it “only a movie,” as Alfred Hitchcock once advised a disturbed actress?
The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first.
2. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. ... Jean Epstein, “Magnification” (1921), in French Film Theory and Criticism, A History/Anthology, Volume I, 1907–1929, ed. Richard Abel (Princeton ...
An account of film theory aimed at teh cinemagoer and the student.