More New and Used
from Private Sellers
Questions About This Book?
Why should I rent this book?
Renting is easy, fast, and cheap! Renting from eCampus.com can save you hundreds of dollars compared to the cost of new or used books each semester. At the end of the semester, simply ship the book back to us with a free UPS shipping label! No need to worry about selling it back.
How do rental returns work?
Returning books is as easy as possible. As your rental due date approaches, we will email you several courtesy reminders. When you are ready to return, you can print a free UPS shipping label from our website at any time. Then, just return the book to your UPS driver or any staffed UPS location. You can even use the same box we shipped it in!
What version or edition is this?
This is the 1st edition with a publication date of 12/16/2009.
What is included with this book?
- The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any CDs, lab manuals, study guides, etc.
- The Rental copy of this book is not guaranteed to include any supplemental materials. You may receive a brand new copy, but typically, only the book itself.
- The eBook copy of this book is not guaranteed to include any supplemental materials. Typically only the book itself is included.
What is the relationship between the cinema and the spectator? Renowned film scholars Thomas Elsaesser and Malte Hagener use this central question for film theory in order to guide students through all of the major film theories-from the classical period to today-in this brief, insightful, and engaging book. Every kind of cinema (and every kind of film theory) presupposes an ideal spectator, and then imagines a certain relationship between the mind and body of that spectator and the screen. Using seven distinctive configurations of spectator and screen that move from "exterior" to "interior" relationships, the authors retrace the most important stages of film theory from the 1920s onwards, with special attention paid to theories since 1945, from neo-realist and modernist theories to psychoanalytic, apparatus, phenomenological, and cognitivist theories, while also offering an incisive extension of film theory through the senses into the digital age.Each chapter opens with a paradigmatic scene from a well-known film to introduce key concepts, and outlines the major schools of thought and theorists attached to a particular film theory. The films discussed combine classics of cinema such as Rear Window and The Searchers with contemporary films including Donnie Darko and Eternal Sunshine of the Spotless Mind . Film stills throughout provide a visual key to unlock challenging theoretical concepts.
Thomas Elsaesser is Professor of Film and Television Studies in the Department of Art and Culture at the University of Amsterdam. A renowned film scholar, he is the author and editor of many books, including Weimar Cinema and After, also published by Routledge. Malte Hagener is Associate Professor of Media Studies at the Leuphana Universitt Lneburg. He has written Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture, 1919-1939 and edited many volumes, including Cinephilia: Movies, Love, and Memory.
Table of Contents
|Introduction: film theory, cinema, the body and the senses||p. 1|
|Cinema as window and frame||p. 13|
|Open and closed film forms (Leo Braudy)|
|Cinema as shop-window and display|
|Cinema as door - screen and threshold||p. 35|
|Entry into the film|
|Etymology of screen|
|Thresholds of the cinema/movie theater|
|Beginnings: credits and credit sequences|
|Post-structuralism (Thierry Kuntzel)|
|Door/screen as filmic motif in Buster Keaton and Woody Allen|
|Cinema as mirror and face||p. 55|
|Face as mirror of the unconscious|
|Early cinema and the close-up (Tom Gunning)|
|Reflexive doubling in modern (art) cinema|
|Paradoxes of the mirror|
|Cinema as eye - look and gaze||p. 82|
|Active and passive eye|
|The mobile eye of early cinema|
|Feminist film theories|
|The Silence of the Lambs|
|Historicity of modes of perception|
|Regimes of the gaze|
|The big Other (Jacques Lacan)|
|Slavoj Äi ek|
|The panoptic gaze (Michel Foucault)|
|Niklas Luhmann and self-monitoring|
|Cinema as skin and touch||p. 108|
|Critique of "ocularcentrism"|
|Skin and identity|
|The New world|
|The (re-)turn to the body|
|Body and genre (Linda Williams, Barbara Creed)|
|The skin of film (Laura Marks)|
|Accented cinema (Hamid Naficy)|
|Cinema as ear - acoustics and space||p. 129|
|Singin' in the Rain|
|Sound as spatial phenomenon|
|Silent cinema and the introduction of sounds|
|Sound in classical cinema|
|The acousniętre (Michel Chion)|
|Reversals in the hierarchy of image and sound|
|Materiality and plasticity of sound|
|Cinema as brain - mind and body||p. 149|
|Eternal Sunshine of the Spotless Mind|
|Propaganda and cult films|
|Five concepts for connecting mind and cinema|
|Mind and body, spectator and film|
|Embodiment and disembodied vision|
|Conclusion: digital cinema-the body and the senses refigured?||p. 170|
|Animation and (photo-)graphics|
|The future of projection|
|Screens: bigger and smaller|
|The new body norm: face or hand?|
|Productive contradictions: digital cinema, virtual reality, media convergence|
|Interface and portal instead of window, door and screen|
|Monsters Inc. and doors|
|Public and private|
|Mobility and hybridity|
|Film theory and philosophy: radical reformulations or rescue missions?|
|Table of Contents provided by Ingram. All Rights Reserved.|