Film Theory and Criticism Introductory Readings
by Mast, Gerald; Cohen, Marshall; Braudy, LeoEdition: 4th
Format: Paperback
Pub. Date: 1992-04-09
Publisher(s): Oxford University Press
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Summary
The fourth edition of this classic resource is updated to illustrate the most recent approaches in film theory, including semiotic and structuralist imperatives, Marxist historical and Freudian psychoanalytic analysis, and feminist and deconstructionist views, and each section has been revised to show the impact of new thinking on matters such as film language, the film medium, and the film artist. More than half of the contents are new, providing a broad survey of thinking about film over the past eight decades. A comprehensive text for students of film, it is also an invaluable resource for courses in semiotics and modern culture and media.
Table of Contents
| Film and Reality | |
| From Theory of Film: Basic Concepts | |
| From From Caligari to Hitler The Cabinet of Dr Caligari | |
| From What is Cinema?: The Myth of Total Cinema | |
| From What is Cinema?: De Sica Metteur-en-scene | |
| From Film as Art: The Complete Film | |
| From Film as Film: Form and Discipline | |
| Cinematography: The Creative Use of Reality | |
| From Metaphors on Vision | |
| Theory and Film: Principles of Realism and Pleasure | |
| Recent Developments in Feminist Criticism | |
| Film Language | |
| From Film Technique: [On Editing] | |
| From Film Form: The Cinematographic Principle and the Ideogram | |
| A Dialectic Approach to Film Form | |
| From What is Cinema?: The Evolution of the Language of Cinema | |
| From Film Language: Some Points in the Semiotics of Cinema | |
| The Tutor-Code of Classical Cinema | |
| Against 'The System of Suture' | |
| From The Subject of Semiotics: Suture | |
| The Spectator-in-the-Text: The Rhetoric of Stagecoach | |
| The Film Medium: Image and Sound | |
| Style and Medium in the Motion Pictures | |
| From Theory of Film: The Establishment of Physical Existence | |
| From Theory of the Film: The Close-up: The Face of Man | |
| From Film as Art: Film as Reality | |
| The Making of a Film | |
| From Philosophical Problem of Classical Film Theory: The Specificity Thesis | |
| From Film/Cinema/Movie: Projection | |
| From The World Viewed: Photograph and Screen | |
| Ideas of Origin | |
| Audience, Actor, and Star Types | |
| Cycles as Genres | |
| Ideological Effects of the Basic Cinematographic Apparatus | |
| Aural Objects | |
| A Statement [on sound] | |
| Direct Sound: An Interview | |
| Technology and Aesthetics of Film Sound | |
| From Cinema and Sentiment: Voice and Space | |
| From Visible Fictions: Broadcast TV as Sound and Image | |
| Film, Theater, and Literature | |
| From The Film: A Psychological Study: The Means of the Photoplay | |
| Film and Theatre | |
| From What is Cinema?: Theater and Cinema | |
| From The World in a Frame: Film Acting and Stage Acting | |
| From Dickens, Griffith, and Film Today | |
| What Novels Can Do That Films Can't (and Vice Versa) | |
| From Concepts in Film Theory: Adaptation | |
| Film Genres | |
| From The World in a Frame: The Conventions of Connection | |
| Movie Chronicle: The Westerner | |
| Social Implications in the Hollywood Genres | |
| Ideology, Genre, Auteur | |
| The Self-Reflexive Musical and the Myth of Entertainment | |
| Chinatown and Generic Transformation in Recent American Films | |
| Tales of Sound and Fury: Observations on the Family Melodrama | |
| Time and Desire in the Woman's Film | |
| The Mummy's Pool | |
| When the Woman Looks | |
| VI | |
| Notes on the Auteur Theory in 1962 | |
| From Signs and Meaning in the Cinema: T | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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