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| critical visions in film theory: Critical Visions in Film Theory Timothy Corrigan, Patricia White, Meta Mazaj, 2010-12-06 Critical Visions in Film Theory is a new book for a new generation, embracing groundbreaking approaches in the field without ignoring the history of classical film theory. The study of film theory has changed dramatically over the past 30 years with innovative ways of looking at classic debates in areas like film form, genre, and authorship, as well as exciting new conversations on such topics as race, gender and sexuality, and new media. Until now, no film theory anthology has stepped forward to represent this broader, more inclusive perspective. Critical Visions also provides the best guidance for students, giving them the context and the tools they need to critically engage with theory and apply it to their film experiences. |
| critical visions in film theory: The Essay Film Timothy Corrigan, 2011-08-01 Why have certain kinds of documentary and non-narrative films emerged as the most interesting, exciting, and provocative movies made in the last twenty years? Ranging from the films of Ross McElwee (Bright Leaves) and Agnès Varda (The Gleaners and I) to those of Abbas Kiarostami (Close Up) and Ari Folman (Waltz with Bashir), such films have intrigued viewers who at the same time have struggled to categorize them. Sometimes described as personal documentaries or diary films, these eclectic works are, rather, best understood as cinematic variations on the essay. So argues Tim Corrigan in this stimulating and necessary new book. Since Michel de Montaigne, essays have been seen as a lively literary category, and yet--despite the work of pioneers like Chris Marker--seldom discussed as a cinematic tradition. The Essay Film, offering a thoughtful account of the long rapport between literature and film as well as novel interpretations and theoretical models, provides the ideas that will change this. |
| critical visions in film theory: Thinking in the Dark Murray Pomerance, R. Barton Palmer, 2015-10-16 Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. Thinking in the Dark introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from Hugo to Vertigo, from City Lights to Sunset Blvd., and from Young Mr. Lincoln to A.I. and Wall-E. The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. Thinking in the Dark is not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes. Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch. |
| critical visions in film theory: Uninvited Patricia White, 1999 Lesbian characters, stories, and images were barred from onscreen depiction in Hollywood films from the 1930s to the 1960s together with all forms of sex perversion. Through close readings of gothics, ghost films, and maternal melodramas addressed to female audiences, Uninvited argues that viewers are invited to make lesbian inferences. Looking at the lure of some of the great female star personae (in films such as Rebecca, Pinky, The Old Maid, Queen Christina, and The Haunting) and at the visual coding of supporting actresses, it identifies lesbian spectatorial strategies. White's archival research, textual analyses, and novel theoretical insights make an important contribution to film, lesbian, and feminist studies. Book jacket. |
| critical visions in film theory: Critical Theory and Film Fabio Vighi, 2012-05-03 Critical Theory and Film brings together critical theory and film to enhance the critical potential of both. The book focuses on the Frankfurt School, most notably the works of Adorno and Horkheimer, as well as associated thinkers. It seeks to demonstrate that cinema can help critical theory repoliticize culture and society and affirm the theoretical and political impact of cinematic knowledge. After discussing how the Frankfurt School saw cinema as an instrument of capitalism use to promote the cultural and political regimentation of the masses, Vighi then proceeds to demonstrate that critical theory can in fact suggest a different verdict on the progressive potential of cinema. Each chapter focuses on a key critical theory concept that is explained and redefined through film analysis to unravel the hidden presuppositions and most radical consequences of critical theory. A unique contribution to the literature, this volume in the Critical Theory and Contemporary Society series offer an innovative reading of film as a critical tool, drawing on the latest developments in Lacanian theory. |
| critical visions in film theory: Film Theory Thomas Elsaesser, Malte Hagener, 2015-03-12 What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectator’s mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from its beginnings to the present—from neo-realist and modernist theories to psychoanalytic, ‘apparatus,’ phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. This new and updated edition of Film Theory: An Introduction through the Senses has been extensively revised and rewritten throughout, incorporating discussion of contemporary films like Her and Gravity, and including a greatly expanded final chapter, which brings film theory fully into the digital age. |
| critical visions in film theory: The Address of the Eye Vivian Sobchack, 2020-05-05 Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two viewers viewing: the spectator and the film, each existing as both subject and object of vision. 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 vision we each live daily as both mine and another's. In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture. |
| critical visions in film theory: Border Visions Jakub Kazecki, Karen A. Ritzenhoff, Cynthia J. Miller, 2013-06-13 Over the last several decades, the boundaries of languages and national and ethnic identities have been shifting, altering the notion of borders around the world. Borderland areas, such as East and West Europe, the US/Mexican frontera, and the Middle East, serve as places of cultural transfer and exchange, as well as arenas of violent conflict and segregation. As communities around the world merge across national borders, new multi-ethnic and multicultural countries have become ever more common. Border Visions: Identity and Diaspora in Film offers an overview of global cinema that addresses borders as spaces of hybridity and change. In this collection of essays, contributors examine how cinema portrays conceptions of borderlands informed by knowledge, politics, art, memory, and lived experience, and how these constructions contribute to a changing global community. These essays analyze a variety of international feature films and documentaries that focus on the lives, cultures, and politics of borderlands. The essays discuss the ways in which conflicts and their resolutions occur in borderlands and how they are portrayed on film. The volume pays special attention to contemporary Europe, where the topic of shifting border identities is one of the main driving forces in the processes of European unification. Among the filmmakers whose work is discussed in this volume are Fatih Akin, Montxo Armendàriz, Cary Fukunaga, Christoph Hochhäusler, Holger Jancke, Emir Kusturica, Laila Pakalnina, Alex Rivera, Larissa Shepitko, Andrea Staka, Elia Suleiman, and István Szabó. A significant contribution to the dialogue on global cinema, Border Visions will be of interest to students and scholars of film, but also to scholars in border studies, gender studies, sociology, and political science. |
| critical visions in film theory: World Cinema Shekhar Deshpande, Meta Mazaj, 2018-01-17 World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examples—theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures—into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema. |
| critical visions in film theory: Film Form Sergei Eisenstein, 2014-06-17 A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence. |
| critical visions in film theory: Pretty Rosalind Galt, 2011-06-07 Film culture often rejects visually rich images, valuing simplicity, austerity, or even ugliness as more provocative, political, and truly cinematic. Although cinema challenges traditional ideas of art, this opposition to the decorative continues a long-standing aesthetic antipathy to feminine cosmetics, Oriental effeminacy, and primitive ornament. Inheriting this patriarchal and colonial perspective along with the preference for fine over decorative art, filmmakers, critics, and theorists tend to denigrate cinema's colorful, picturesque, and richly patterned visions. Condemning this exclusion of the pretty from masculine film culture, Rosalind Galt reevaluates received ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scène, painterly framing, and arabesque camera movements—styles increasingly central to world cinema. From European art house cinema to the films of Wong Kar-wai and Santosh Sivan, from handmade experimental films to the popular pleasures of Moulin Rouge! and Amelie, pretty is a vital element of contemporary cinema, using visual exuberance to communicate distinct sexual and political identities. Inverting the logic of anti-pretty thought, Galt firmly establishes the decorative image as a queer aesthetic, a singular representation of cinema's perverse pleasures and cross-cultural encounters. Creating her own critical tapestry from perspectives in art and film theory and philosophy, Galt reclaims prettiness as a radically transgressive style, woven with the threads of political agency. |
| critical visions in film theory: Theory of Film Siegfried Kracauer, 1997 This study explores the distinctive qualities of the cinematic medium. It includes an introduction which examines Theory of Film in the context of Kracauer's extensive film criticism from the 1920s, and provides a framework for appreciating its significance in contemporary film theory. |
| critical visions in film theory: Women's Cinema, World Cinema Patricia White, 2015-04-20 In Women’s Cinema, World Cinema, Patricia White explores the dynamic intersection of feminism and film in the twenty-first century by highlighting the work of a new generation of women directors from around the world: Samira and Hana Makhmalbaf, Nadine Labaki, Zero Chou, Jasmila Zbanic, and Claudia Llosa, among others. The emergence of a globalized network of film festivals has enabled these young directors to make and circulate films that are changing the aesthetics and politics of art house cinema and challenging feminist genealogies. Extending formal analysis to the production and reception contexts of a variety of feature films, White explores how women filmmakers are both implicated in and critique gendered concepts of authorship, taste, genre, national identity, and human rights. Women’s Cinema, World Cinema revitalizes feminist film studies as it argues for an alternative vision of global media culture. |
| critical visions in film theory: The Film Experience Timothy Corrigan, Patricia White, 2008-12-29 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. |
| critical visions in film theory: Béla Balázs Béla Balázs, 2010 Béla Balázs was a Hungarian Jewish film theorist, author, screenwriter and film director who was at the forefront of Hungarian literary life before being forced into exile for Communist activity after 1919. His German-language theoretical essays on film date from the mid-1920s to the mid-1930s, the period of his early exile in Vienna and Berlin-- Publisher description |
| critical visions in film theory: Psychoanalytic Film Theory and The Rules of the Game Todd McGowan, 2015-07-30 Psychoanalytic Film Theory and The Rules of the Game offers a concise introduction to psychoanalytic film theory in jargon-free language and shows how this theory can be deployed to interpret Jean Renoir's classic film-- |
| critical visions in film theory: Cinema Approaching Reality Victor Fan, 2015-03-20 In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best understood as “approaching reality.” What these Chinese theorists mean, in Fan’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened. Fan suggests that the phrase “approaching reality” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled with: the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn. |
| critical visions in film theory: Women's Experimental Cinema Robin Blaetz, 2007-10-16 This volume offers introductions to the work of fifteen avant-garde American women filmmakers. |
| critical visions in film theory: Film Production Theory Jean-Pierre Geuens, 2000-03-31 Integrates contemporary film theory into the teaching of film production, presenting alternatives to the standard Hollywood model of filmmaking. |
| critical visions in film theory: Visions of the City David Pinder, 2013-11-12 Visions of the City is a dramatic history of utopian urbanism in the twentieth century. It explores radical demands for new spaces and ways of living, and considers their effects on planning, architecture and struggles to shape urban landscapes. The author critically examines influential utopian approaches to urbanism in western Europe associated with such figures as Ebenezer Howard and Le Corbusier, uncovering the political interests, desires and anxieties that lay behind their ideal cities. He also investigates avant-garde perspectives from the time that challenged these conceptions of cities, especially from within surrealism. At the heart of this richly illustrated book is an encounter with the explosive ideas of the situationists. Tracing the subversive practices of this avant-garde group and its associates from their explorations of Paris during the 1950s to their alternative visions based on nomadic life and play, David Pinder convincingly explains the significance of their revolutionary attempts to transform urban spaces and everyday life. He addresses in particular Constant's New Babylon, finding within his proposals a still powerful provocation to imagine cities otherwise. The book not only recovers vital moments from past hopes and dreams of modern urbanism. It also contests current claims about the 'end of utopia', arguing that reconsidering earlier projects can play a critical role in developing utopian perspectives today. Through the study of utopian visions, it aims to rekindle elements of utopianism itself. A superb critical exploration of the underside of utopian thought over the last hundred years and its continuing relevance in the here and now for thinking about possible urban worlds. The treatment of the Situationists and their milieu is a revelation. David Harvey, Distinguished Professor of Anthropology, City University of New York Graduate School |
| critical visions in film theory: Visions of Aging Amir Cohen-Shalev, 2009 Explores movies on old age by old filmmakers, and movies on old age by younger artists. This title focuses on the cinematic representation of ageing from within, and examines the ways ageing is viewed from the outside. It is suitable for students and scholars of cinema, humanistic gerontology, psychology of art, and the sociology of old age. |
| critical visions in film theory: Genre Trouble and Extreme Cinema Troy Bordun, 2017-11-10 This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand generic classifications. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell, Vivian Sobchack, Laura U. Marks, and Eugenie Brinkema. |
| critical visions in film theory: Second Takes Carolyn Jess-Cooke, Constantine Verevis, 2012-02-01 The first collection of essays devoted to the phenomenon of the film sequel. |
| critical visions in film theory: Unsettling Sights Corinn Columpar, 2010-03-11 Unsettling Sights: The Fourth World on Film examines the politics of representing Aboriginality, in the process bringing frequently marginalized voices and visions, issues and debates into the limelight. Corinn Columpar uses film theory, postcolonial theory, and Indigenous theory to frame her discussion of the cinematic construction and transnational circulation of Aboriginality. The result is a broad interdisciplinary analysis of how Indigeneity is represented in cinema, supported by more than twenty rigorous and theoretically informed case studies of contemporary feature films by both First- and Fourth-World filmmakers in the United States, Canada, New Zealand, and Australia. Columpar relies heavily on textual analysis of the films but also explores contextual issues in filmmaking such as funding, personnel, modes of production, and means of distribution. Part one of Unsettling Sights focuses on contact narratives in which the Aboriginal subject is constructed in reactive response to a colonizing or invading presence. Films such as The Piano and The Proposition, wherein a white man “goes native,” and The New World and Map of the Human Heart, which approach contact from the perspective of an Aboriginal character, serve as occasions to examine the ways in which Aboriginal identities are negotiated within dominant cinema. Part two shifts the focus from contact narratives to films that seek to define Aboriginality on its own terms, with reference to a (lost) homeland and/or Indigenous practices of (hi)story-telling: while texts such as Once Were Warriors and Smoke Signals foster an engagement with issues of deterritorialization, relocation, and urbanization, discussion of beDevil, Atanarjuat, and The Business of Fancydancing, among others,bring questions of voice, translation, and the relationship between cinema and oral tradition to the forefront. Unsettling Sights is the first significant, scholarly examination of Aboriginality and cinema in an international context and will be invaluable to scholars and students in many fields including cinema studies, anthropology, critical race studies, cultural studies, and postcolonial studies. |
| critical visions in film theory: The Cinema of Terrence Malick Hannah Patterson, 2007-11-19 With 2005's acclaimed and controversial The New World, one of cinema's most enigmatic filmmakers returned to the screen with only his fourth feature film in a career spanning thirty years. While Terrence Malick's work has always divided opinion, his poetic, transcendent filmic language has unquestionably redefined modern cinema, and with a new feature scheduled for 2008, contemporary cinema is finally catching up with his vision. This updated second edition of The Cinema of Terrence Malick: Poetic Visions of America charts the continuing growth of Malick's oeuvre, exploring identity, place, and existence in his films. Featuring two new original essays on his latest career landmark and extensive analysis of The Thin Red Line-Malick's haunting screen treatment of World War II-this is an essential study of a visionary poet of American cinema. |
| critical visions in film theory: The Real of Reality: The Realist Turn in Contemporary Film Theory , 2021-08-30 Reality has become an increasingly prominent topic in contemporary philosophy. The book’s contributors are responding to the challenge to use the philosophically underexplored potential of film to disclose what the editors propose to call “the real of reality.” |
| critical visions in film theory: Film Moments James Walters, Tom Brown, 2019-07-25 Film is made of moments. In its earliest form, the cinema was a moment: mere seconds recorded and projected into the darkness. Even as film has developed into today's complex and intricate medium, it is the brief, temporary and transitory that combines to create the whole. Our memories of films are composed of the moments we deem to be crucial: touchstones for our understanding and appreciation. Moments matter. The 38 specially commissioned essays in Film Moments examine a wide selection of key scenes across a broad spectrum of national cinemas, historical periods and genres, featuring films by renowned auteurs including Alfred Hitchcock, Jean Renoir and Vincente Minnelli and important contemporary directors such as Pedro Costa, Zhang Ke Jia and Quentin Tarantino, addressing films including City Lights, Gone with the Wind, The Wizard of Oz, The Night of the Hunter, Wild Strawberries, 8 1?2, Bonnie and Clyde, Star Wars, Conte d'été, United 93 and Lord of the Rings: Return of the King. Film Moments provides both an enlightening introduction for students to the diversity of approaches and concerns in the study of film, and a dynamic and vibrant account of key film sequences for anyone interested in enhancing their understanding of cinema. |
| critical visions in film theory: Sex In The Head Linda R. Williams, 2016-07-01 In Sex in the Head, Linda Ruth Williams uses psychoanalysis and recent feminist film theory to analyze a network of ideas which link looking with sexuality and difference, in the work of a writer who disavowed, yet covertly enjoyed, the pleasures and power of vision. The book is a departure from the long history of feminist readings of Lawrence, in that it discusses his engagement with theories of the gaze and its cultural forms - cinema, photography, painting and the visual dynamics and metaphors of literary texts - as a way of thinking through gender. It shows him arguing, on the one hand, against the evils of cinema and visual sex, while relishing, through the eyes of women, the moving spectacle of those male bodies which populate the pages of his books. It also questions what it is about the work of such an adamant cinephobe which has made it so thoroughly adaptable for film and television. |
| critical visions in film theory: Feminist Film Theory Sue Thornham, 1999-04 For the past twenty-five years, cinema has been a vital terrain on which feminist debates about culture, representation, and identity have been fought. This anthology charts the history of those debates, bringing together the key, classic essays in feminist film theory. Feminist Film Theory maps the impact of major theoretical developments on this growing field-from structuralism and psychoanalysis in the 1970s, to post-colonial theory, queer theory, and postmodernism in the 1990s. Covering a wide range of topics, including oppressive images, woman as fetishized object of desire, female spectatorship, and the cinematic pleasures of black women and lesbian women, Feminist Film Theory is an indispensable reference for scholars and students in the field. Contributors include Judith Butler, Carol J. Clover, Barbara Creed, Michelle Citron, Mary Ann Doane, Teresa De Lauretis, Jane Gaines, Christine Gledhill, Molly Haskell, bell hooks, Claire Johnston, Annette Kuhn, Julia Lesage, Judith Mayne, Tania Modleski, Laura Mulvey, B. Ruby Rich, Kaja Silverman, Sharon Smith, Jackie Stacey, Janet Staiger, Anna Marie Taylor, Valerie Walkerdine, and Linda Williams. |
| critical visions in film theory: Deep Mediations Karen Redrobe, Jeff Scheible, 2021-03-09 The preoccupation with “depth” and its relevance to cinema and media studies For decades the concept of depth has been central to critical thinking in numerous humanities-based disciplines, legitimizing certain modes of inquiry over others. Deep Mediations examines why and how this is, as scholars today navigate the legacy of depth models of thought and vision, particularly in light of the “surface turn” and as these models impinge on the realms of cinema and media studies. The collection’s eighteen essays seek to understand the decisive but evolving fixation on depth by considering the term’s use across a range of conversations as well as its status in relation to critical methodologies and the current mediascape. Engaging contemporary debates about new computing technologies, the environment, history, identity, affect, audio/visual culture, and the limits and politics of human perception, Deep Mediations is a timely interrogation of depth’s ongoing importance within the humanities. Contributors: Laurel Ahnert; Taylor Arnold, U of Richmond; Erika Balsom, King’s College London; Brooke Belisle, Stony Brook University; Jinhee Choi, King’s College London; Jennifer Fay, Vanderbilt U; Lisa Han, UC Santa Barbara; Jean Ma, Stanford U; Shaka McGlotten, Purchase College-SUNY; Susanna Paasonen, U of Turku, Finland; Jussi Parikka, U of Southampton; Alessandra Raengo, Georgia State U; Pooja Rangan, Amherst College; Katherine Rochester, VIA Art Fund in Boston; Karl Schoonover, University of Warwick (UK); Jordan Schonig, Michigan State U; John Paul Stadler, North Carolina State U; Nicole Starosielski, New York U; Lauren Tilton, U of Richmond. |
| critical visions in film theory: Vision's Immanence Peter Lurie, 2004-08 Lurie takes particular interest in the influence of cinema on Faulkner's fiction and the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in August of stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I forget thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism.--BOOK JACKET. |
| critical visions in film theory: Fantasy Film James Walters, 2011-06-01 Fantasy Film proposes an innovative approach to the study of this most popular cinematic genre. Engaging with the diversity of tones, forms and styles that fantasy can take in the cinema, the book examines the value and significance of fantasy across a wide range of key films. This volume extends critical understanding beyond the often narrowly defined boundaries of what is seen as fantasy. Fantasy Film uses key concepts in film studies - such as authorship, representation, history,genre, coherence and point of view - to interrogate the fantasy genre and establish its parameters. A wide range of films are held up to close scrutiny to illustrate the discussion. Moving from Alfred Hitchcock's dark thrillers to Vincente Minnelli's vibrant musicals, from George Méliès' 1904 Voyage à travers l'impossible to the X-Men series, the creative dexterity and excitement of film fantasy is evoked and explored. The book will be invaluable to students and fans of the fantasy genre. |
| critical visions in film theory: Psychoanalysis and Cinema: the Imaginary Signifier Christian Metz, 1983-06-18 |
| critical visions in film theory: Cinematic Social Studies William B. Russell, Stewart Waters, 2017-01-01 Action! Film is a common and powerful element in the social studies classroom and Cinematic Social Studies explores teaching and learning social studies with film. Teaching with film is a prominent teaching strategy utilized by many teachers on a regular basis. Cinematic Social Studies moves readers beyond the traditional perceptions of teaching film and explores the vast array of ideas and strategies related to teaching social studies with film. The contributing authors of this volume seek to explain, through an array of ideas and visions, what cinematic social studies can/should look like, while providing research and rationales for why teaching social studies with film is valuable and important. This volume includes twenty-four scholarly chapters discussing relevant topics of importance to cinematic social studies. The twenty four chapters are divided into three sections. This stellar collection of writings includes contributions from noteworthy scholars like Keith Barton, Wayne Journell, James Damico, Cynthia Tyson, and many more. |
| critical visions in film theory: The Utopia of Film Christopher Pavsek, 2013-01-29 The German filmmaker Alexander Kluge has long promoted cinema's relationship with the goals of human emancipation. Jean-Luc Godard and Filipino director Kidlat Tahimik also believe in cinema's ability to bring about what Theodor W. Adorno once called a redeemed world. Situating the films of Godard, Tahimik, and Kluge within debates over social revolution, utopian ideals, and the unrealized potential of utopian thought and action, Christopher Pavsek showcases the strengths, weaknesses, and undeniable impact of their utopian visions on film's political evolution. He discusses Godard's Alphaville (1965) against Germany Year 90 Nine-Zero (1991) and JLG/JLG: Self-portrait in December (1994), and he conducts the first scholarly reading of Film Socialisme (2010). He considers Tahimik's virtually unknown masterpiece, I Am Furious Yellow (1981–1991), along with Perfumed Nightmare (1977) and Turumba (1983); and he constructs a dialogue between Kluge's Brutality in Stone (1961) and Yesterday Girl (1965) and his later The Assault of the Present on the Rest of Time (1985) and Fruits of Trust (2009). |
| critical visions in film theory: The Palgrave Handbook of the Philosophy of Film and Motion Pictures Noël Carroll, Laura T. Di Summa, Shawn Loht, 2019-10-30 This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject. |
| critical visions in film theory: A Companion to Critical and Cultural Theory Imre Szeman, Sarah Blacker, Justin Sully, 2017-07-07 This Companion addresses the contemporary transformation of critical and cultural theory, with special emphasis on the way debates in the field have changed in recent decades. Features original essays from an international team of cultural theorists which offer fresh and compelling perspectives and sketch out exciting new areas of theoretical inquiry Thoughtfully organized into two sections – lineages and problematics – that facilitate its use both by students new to the field and advanced scholars and researchers Explains key schools and movements clearly and succinctly, situating them in relation to broader developments in culture, society, and politics Tackles issues that have shaped and energized the field since the Second World War, with discussion of familiar and under-theorized topics related to living and laboring, being and knowing, and agency and belonging |
| critical visions in film theory: Concepts in Film Theory J. Dudley Andrew, 1984-03-15 Concepts in Film Theory is a continuation of Dudley Andrew's classic, The Major Film Theories. In writing now about contemporary theory, Andrew focuses on the key concepts in film study -- perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with an introductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of the interdependence of these concepts. Andrew provides lucid explanations of theories which involve perceptual psychology and structuralism; semiotics and psychoanalysis; hermeneutics and genre study. His clear approach to these often obscure theories enables students to acquire the background they need to enrich their understanding of film -- and of art. |
| critical visions in film theory: Audio-vision Michel Chion, 1994 Deals with issue of sound in audio-visual images |
| critical visions in film theory: Indefinite Visions Beugnet Martine Beugnet, 2017-07-07 Moving image culture seems to privilege the instantly identifiable: the recognizable face, the well-timed stunt, the perfectly synchronized line of dialogue. Yet perfect, in-focus visibility does not come 'naturally' to the moving image, and if there is one visual effect the eye of the camera can record better than the human eye it is blur. Looking beyond popular media to works of experimental cinema and video art, this groundbreaking collection addresses the aesthetics and politics of moving images in states of decay, distortion, indistinctness and fragmentation. A range of international scholars examines what is at stake in these images' sometimes radical foregrounding of materiality and mediation, or of evanescence and spectrality, as well as their challenging of the dominant position accorded to 'legible' images. How have artists and filmmakers rendered the 'indefinite' image, and what questions does it pose? With a range of approaches, from aesthetics to phenomenology to production studies, the authors in this volume investigate techniques, themes and concepts that emerge from this wilful excavation of the moving image's material base. |
Critical Visions In Film Theory (book) - netsec.csuci.edu
Critical Visions In Film Theory Critical visions in film theory: explore diverse perspectives and methodologies that challenge conventional cinematic analysis, examining influential schools of thought and their impact on how we understand movies. This in-depth exploration delves into …
Critical Visions In Film Theory [PDF] - quenso.de
Each chapter focuses on a key critical theory concept that is explained and redefined through film analysis to unravel the hidden presuppositions and most radical consequences of critical theory.
Critical Visions In Film Theory - resources.caih.jhu.edu
Critical Visions In Film Theory - lms.mtu.edu.ng Within the pages of "Critical Visions In Film Theory," an enthralling opus penned by a highly acclaimed wordsmith, readers attempt an …
Critical Visions In Film Theory - elearning.ndu.edu.ng
an introduction which examines Theory of Film in the context of Kracauer's extensive film criticism from the 1920s, and provides a framework for appreciating its significance in contemporary film …
Critical Visions In Film Theory - lms.mtu.edu.ng
Critical Visions also provides the best guidance for students, giving them the context and the tools they need to critically engage with theory and apply it to their film experiences. Film Theory …
Critical Visions In Film Theory
Film theory, far from being a detached academic pursuit, provides a crucial lens through which we can understand not only the mechanics of filmmaking but also its profound impact on society, …
Critical Visions In Film Theory - classroom.edopoly.edu.ng
a new generation embracing groundbreaking approaches in the field without ignoring the history of classical film theory The study of film theory has changed dramatically over the past 30 …
Critical Visions In Film Theory - stg2.ntdtv.com
5 Critical Visions In Film Theory Published at stg2.ntdtv.com coherence, emphasizing fragmentation and the multiplicity of interpretations. Example: Analyzing the use of low-key …
Critical Visions In Film Theory - flexlm.seti.org
This article explores key critical visions in film theory, providing a comprehensive overview of their core principles and practical applications. 1. Auteur Theory: Core Principle: This theory, …
While all sorts of film anthologies seem relatively - JSTOR
"Introducing Film Theory" (1130). These multiple points of entry suggest the breadth and quality of the material provided, allowing the editors to boast, correctly, that Critical Visions represents …
Critical Visions In Film Theory - rdoforum.gov.ie
6 May 2021 · ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scène, painterly …
Critical Visions In Film Theory - resources.caih.jhu.edu
Critical Visions In Film Theory (Download Only) Critical Visions in Film Theory is a new book for a new generation, embracing groundbreaking approaches in the field without ignoring the …
Critical Visions In Film Theory - lms.mtu.edu.ng
Visions In Film Theory (book) This article explores key critical visions in film theory, providing a comprehensive overview of their core principles and practical applications. 1.
Critical Visions In Film Theory - lms.mtu.edu.ng
Within the pages of "Critical Visions In Film Theory," an enthralling opus penned by a highly acclaimed wordsmith, readers attempt an immersive expedition to unravel the intricate …
THE PLACE OF CRITICAL THEORIES IN FILM ANALYSIS: MAKING A …
Every aspect of a film, from pre-production to post-production are now been analysed critically. Each of the elements of a film can now be interpreted and read as a text. While such readings …
Critical Visions In Film Theory - resources.caih.jhu.edu
Critical Visions In Film Theory (Download Only) Critical Visions in Film Theory is a new book for a new generation, embracing groundbreaking approaches in the field without ignoring the …
Film Theory and Criticism - CRAFT|Film School
WIMAL DISSANAYAKE “Issues in World Cinema,” from World Cinema: Critical Approaches, Edited by John Hill and Pamela Church Gibson; this essay was also printed in The Oxford Guid …
Critical Theories for Film and Media - Patricia White
Critical Theories for Film and Media This class will introduce and examine key authors, debates, texts, and contexts in critical and cultural theory as a basis for work in film and media studies.
PDF Critical Visions In Film Theory , Dr. Cordell Heidenreich
FILM-C 391 Final Term Video Essay - FILM-C 391 Final Term Video Essay by Maxwell Burton 377 views 10 years ago 10 minutes, 37 seconds - Array Critical Visions in Film Theory,: Classic …
Critical Visions In Film Theory (book) - netsec.csuci.edu
Critical Visions In Film Theory Critical visions in film theory: explore diverse perspectives and methodologies that challenge conventional cinematic analysis, examining influential schools of …
Critical Visions In Film Theory [PDF] - quenso.de
Each chapter focuses on a key critical theory concept that is explained and redefined through film analysis to unravel the hidden presuppositions and most radical consequences of critical theory.
Critical Visions In Film Theory - resources.caih.jhu.edu
Critical Visions In Film Theory - lms.mtu.edu.ng Within the pages of "Critical Visions In Film Theory," an enthralling opus penned by a highly acclaimed wordsmith, readers attempt an …
Critical Visions In Film Theory - elearning.ndu.edu.ng
an introduction which examines Theory of Film in the context of Kracauer's extensive film criticism from the 1920s, and provides a framework for appreciating its significance in contemporary film …
Critical Visions In Film Theory - lms.mtu.edu.ng
Critical Visions also provides the best guidance for students, giving them the context and the tools they need to critically engage with theory and apply it to their film experiences. Film Theory …
Critical Visions In Film Theory
Film theory, far from being a detached academic pursuit, provides a crucial lens through which we can understand not only the mechanics of filmmaking but also its profound impact on society, …
Critical Visions In Film Theory - classroom.edopoly.edu.ng
a new generation embracing groundbreaking approaches in the field without ignoring the history of classical film theory The study of film theory has changed dramatically over the past 30 …
Critical Visions In Film Theory - stg2.ntdtv.com
5 Critical Visions In Film Theory Published at stg2.ntdtv.com coherence, emphasizing fragmentation and the multiplicity of interpretations. Example: Analyzing the use of low-key …
Critical Visions In Film Theory - flexlm.seti.org
This article explores key critical visions in film theory, providing a comprehensive overview of their core principles and practical applications. 1. Auteur Theory: Core Principle: This theory, …
While all sorts of film anthologies seem relatively - JSTOR
"Introducing Film Theory" (1130). These multiple points of entry suggest the breadth and quality of the material provided, allowing the editors to boast, correctly, that Critical Visions represents …
Critical Visions In Film Theory - rdoforum.gov.ie
6 May 2021 · ideas about the decorative impulse from early film criticism to classical and postclassical film theory. The pretty embodies lush visuality, dense mise-en-scène, painterly …
Critical Visions In Film Theory - resources.caih.jhu.edu
Critical Visions In Film Theory (Download Only) Critical Visions in Film Theory is a new book for a new generation, embracing groundbreaking approaches in the field without ignoring the …
Critical Visions In Film Theory - lms.mtu.edu.ng
Visions In Film Theory (book) This article explores key critical visions in film theory, providing a comprehensive overview of their core principles and practical applications. 1.
Critical Visions In Film Theory - lms.mtu.edu.ng
Within the pages of "Critical Visions In Film Theory," an enthralling opus penned by a highly acclaimed wordsmith, readers attempt an immersive expedition to unravel the intricate …
THE PLACE OF CRITICAL THEORIES IN FILM ANALYSIS: MAKING …
Every aspect of a film, from pre-production to post-production are now been analysed critically. Each of the elements of a film can now be interpreted and read as a text. While such readings …
Critical Visions In Film Theory - resources.caih.jhu.edu
Critical Visions In Film Theory (Download Only) Critical Visions in Film Theory is a new book for a new generation, embracing groundbreaking approaches in the field without ignoring the …
Film Theory and Criticism - CRAFT|Film School
WIMAL DISSANAYAKE “Issues in World Cinema,” from World Cinema: Critical Approaches, Edited by John Hill and Pamela Church Gibson; this essay was also printed in The Oxford Guid …
Critical Theories for Film and Media - Patricia White
Critical Theories for Film and Media This class will introduce and examine key authors, debates, texts, and contexts in critical and cultural theory as a basis for work in film and media studies.
PDF Critical Visions In Film Theory , Dr. Cordell Heidenreich
FILM-C 391 Final Term Video Essay - FILM-C 391 Final Term Video Essay by Maxwell Burton 377 views 10 years ago 10 minutes, 37 seconds - Array Critical Visions in Film Theory,: Classic …
