Cover image for Film theory and criticism : introductory readings
Film theory and criticism : introductory readings
Braudy, Leo.
Fifth edition.
Publication Information:
New York : Oxford University Press, [1999]

Physical Description:
xviii, 861 pages : illustrations ; 24 cm
Format :


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PN1994 .M364 1999 Adult Non-Fiction Non-Fiction Area

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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 fifth edition is ideal for undergraduate and graduate courses in film theory and criticism. Featuring both classic texts and cutting-edge essays from almost a century of thought and writing about the movies, it includes 23 articles new to this edition and new introductions for the individual sections. The sections themselves have also been reformulated to help lead students into aricher understanding of what the movies have and can accomplish both as individual works and as contributions to what has been called the art form of the twentieth 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 context of psychology, sociology, and philosophy, andto explore issues of gender and race. Selections represent four periods in the development of film theory: the "classic formalist" era from film's beginnings roughly to the 1950s; the period of film's societal implications from 1950 to the seventies; the time of emerging theories beginning in theseventies that includes semiotic and structuralist models, approaches from cultural history, Marxist theory, psychoanalytic analysis, and feminist theory; and most recently, the period in which theories are merged into larger perspectives for understanding individual films as well as film ingeneral.

Author Notes

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

Table of Contents

Brian HendersonStephen PrinceDaniel DayanNick BrowneMaya DerenStan BrakhageJean-Louis BaudryStephen PrinceErwin PanofskyJean-Louis BaudryChristian MetzSergei Eisenstein and Vsevolod Pudovkin and Grigori AlexandrovMary ann DoaneJohn BeltonSergei EisensteinSeymour ChatmanTom GunningJerrold LevinsonKristin ThompsonPeter WollenJeffrey SconceAndrew SarrisRichard B. JewellRoland BarthesRick AltmanRobert WarshowRobin WoodLinda WilliamsCynthia A. FreelandTania ModleskiDavid BordwellWalter BenjaminJean-Luc Comolli and Jean NarboniLaura MulveyTom GunningRobert Stam and Louise SpenceManthia DiawaraJohn BeltonAnne Friedberg
Prefacep. XV
I Film Languagep. 1
From Film TechniqueVsevolod Pudovkin
[On Editing]p. 7
From Film FormSergei Eisenstein
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?Andre Bazin
The Evolution of the Language of Cinemap. 41
Toward a Non-Bourgeois Camera Stylep. 54
From Film LanguageChristian Metz
Some Points in the Semiotics of the Cinemap. 65
Problems of Denotation in the Fiction Filmp. 72
The Discourse of Pictures: Iconicity and Film Studiesp. 87
The Tutor-Code of Classical Cinemap. 106
The Spectator-in-the-Text: The Rhetoric of Stagecoachp. 118
II Film and Realityp. 135
From Theory of FilmSiegfried Kracauer
Basic Conceptsp. 143
From From Caligari to HitlerSiegfried Kracauer
The Cabinet of Dr. Caligarip. 154
From What Is Cinema?Andre Bazin
The Ontology of the Photographic Imagep. 166
The Myth of Total Cinemap. 170
De Sica: Metteur-en-scenep. 174
From Film as ArtRudolf Arnheim
The Complete Filmp. 183
Cinematography: The Creative Use of Realityp. 187
From Metaphors on Visionp. 199
The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinemap. 206
From Mystifying MoviesNoel Carroll
Jean-Louis Baudry and "The Apparatus,"p. 224
From Cinema 1 and Cinema 2Gilles Deleuze
Preface to the English Editionp. 240
The Origin of the Crisis: Italian Neo-realism and the French New Wavep. 242
Beyond the Movement-Imagep. 250
True Lies: Perceptual Realism, Digital Images, and Film Theoryp. 270
III The Film Medium: Image and Soundp. 283
Style and Medium in the Motion Picturesp. 289
From Theory of FilmSiegfried Kracauer
The Establishment of Physical Existencep. 303
From Theory of the FilmBela Balasz
The Close-upp. 314
The Face of Manp. 315
From Film as ArtRudolf Arnheim
Film and Realityp. 322
The Making of a Filmp. 326
From Philosophical Problems of Classical Film TheoryNoel Carroll
The Specificity Thesisp. 332
From Film/Cinema/MovieGerald Mast
Projectionp. 339
From The World ViewedStanley Cavell
Photograph and Screenp. 344
Audience, Actor, and Starp. 345
Types; Cycles as Genresp. 347
Ideas of Originp. 352
Ideological Effects of the Basic Cinematographic Apparatusp. 355
Aural Objectsp. 366
Statement on Soundp. 370
The Voice in the Cinema: The Articulation of Body and Spacep. 373
Technology and Aesthetics of Film Soundp. 386
From Visible FictionsJohn Ellis
Broadcast TV as Sound and Imagep. 395
IV Film Narrative and the Other Artsp. 405
From The Film: A Psychological StudyHugo Munsterberg
The Means of the Photoplayp. 411
From What Is Cinema?Andre Bazin
Theater and Cinemap. 418
From The World in a FrameLeo Braudy
Acting: Stage vs. Screenp. 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 TheoryDudley Andrew
Adaptationp. 461
Narrative Discourse and the Narrator Systemp. 470
Film Music and Narrative Agencyp. 482
The Concept of Cinematic Excessp. 513
Godard and Counter Cinema: Vent d'Estp. 525
'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Stylep. 534
V The Film Artistp. 555
Notes on the Auteur Theory in 1962p. 561
From Signs and Meaning in the CinemaPeter Wollen
The Auteur Theoryp. 565
How Howard Hawks Brought Baby Up: An Apologia for the Studio Systemp. 581
The Face of Garbop. 589
From The Material GhostGilberto Perez
[Keaton and Chaplin]p. 592
From Visible FictionsJohn Ellis
Stars as a Cinematic Phenomenonp. 598
From Film History: Theory and PracticeRobert C. Allen
The Role of the Star in Film History [Joan Crawford]p. 606
From From Reverence to RapeMolly Haskell
Female Stars of the 1940sp. 620
Pleasure, Ambivalence, IdentificationMiriam Hansen
Valentino and Female Spectatorshipp. 634
From The Genius of the SystemThomas Schatz
"The Whole Equation of Pictures"p. 652
VI Film Genresp. 657
From The World in a FrameLeo Braudy
Genre: The Conventions of Connectionp. 663
A Semantic/Syntactic Approach to Film Genrep. 680
From Hollywood GenresThomas Schatz
Film Genre and the Genre Filmp. 691
Movie Chronicle: The Westernerp. 703
Ideology, Genre, Auteurp. 717
Film Bodies: Gender, Genre, and Excessp. 727
Feminist Frameworks for Horror Filmsp. 742
The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theoryp. 764
The Art Cinema as a Mode of Film Practicep. 774
VII Film: Psychology, Ideology, and Technologyp. 783
The Work of Art in the Age of Mechanical Reproductionp. 791
Cinema/Ideology/Criticismp. 812
From The Imaginary SignifierChristian Metz
Identification, Mirrorp. 820
The Passion for Perceivingp. 827
Disavowal, Fetishismp. 831
Visual Pleasure and Narrative Cinemap. 837
From The Women Who Knew Too Much: Hitchcock and Feminist TheoryTania Modleski
The Master's Dollhouse: Rear Windowp. 849
An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectatorp. 862
Colonialism, Racism, and Representation: An Introductionp. 877
Black Spectatorship: Problems of Identification and Resistancep. 892
Digital Cinema: A False Revolutionp. 901
The End of Cinema: Multimedia and Technological Changep. 914
Indexp. 927