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Book Description
This anthology offers a collection of some of the most provocative and influential writings of film theory from the 1960s and 1970s, along with new directions from the last two decades. An introductory essay to the volume sums up developments in film theory from the beginning up through the 1980s, while introductions to specific groupings of essays summarize debates on those issues. Rather than look at film theory in terms of schools and allegiances, the editors investigate questions and problematics: What is the cinema? What is the cinematic apparatus? How do spectators differ in their desires? What is realism? Is realism desirable? Thus psychoanalysis, reception theory, cognitive theory, race theory, and feminism all provide partially valid answers to the question: What does the spectator want? This anthology's goal is to facilitate a polylogue among the theorists who have ignored or maligned one another and to deprovincialize film theory. Film Theory multiplies the perspectives and positions, the situations and locations, from which film theory is spoken.
Synopsis
This anthology offers a collection of some of the most provocative and influential writings of film theory from the 1960s and 1970s, along with new directions from the last two decades.An introductory essay to the volume sums up developments in film theory from the beginning up through the 1980s, while introductions to specific groupings of essays summarize debates on those issues. Rather than look at film theory in terms of schools and allegiances, the editors investigate questions and problematics: What is the cinema? What is the cinematic apparatus? How do spectators differ in their desires? What is realism? Is realism desirable? Thus psychoanalysis, reception theory, cognitive theory, race theory, and feminism all provide partially valid answers to the question: What does the spectator want? This anthology's goal is to facilitate a polylogue among the theorists who have ignored or maligned one another and to deprovincialize film theory. Film Theory multiplies the perspectives and positions, the situations and locations, from which film theory is spoken.
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Einleitungssatz
Film and Theory forms part of a trilogy of books which try to chart the shifting terrain of film theory. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Film and Theory forms part of a trilogy of books which try to chart the shifting terrain of film theory. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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Film Theory
23. August 2011
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This book is not for the weak minded. It is very "heady" and requires serious breakdown of most you will read. However there is great knowledge within the intellectual writing of those featured in the book.
In my opinion, this is the second best book on the market for film theory. You have to give Robert Stam credit for that as to have the first best book means he would have to outdo renown film theorist Leo Braudy. Braudy's book a little better in my opinion, but also a little more "heady."
So if your looking not to completely blow your mind, I recommend Stam's book. But if your really intense about film theory, then go with Braudy.
In my opinion, this is the second best book on the market for film theory. You have to give Robert Stam credit for that as to have the first best book means he would have to outdo renown film theorist Leo Braudy. Braudy's book a little better in my opinion, but also a little more "heady."
So if your looking not to completely blow your mind, I recommend Stam's book. But if your really intense about film theory, then go with Braudy.
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