Contemporary film theory
Author(s)
Bibliographic Information
Contemporary film theory
（Longman critical readers）
Longman, 1993
- : csd
- : pbk
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Note
Includes bibliographical notes, further reading (p. 207-212) and indexes
Description and Table of Contents
- Volume
-
: csd ISBN 9780582090316
Description
An important series which takes full account of contemporary literary theory, providing collections of key modern readings of major authors, genres and critical approaches. Film and the theory of film provides a unique understanding of twentieth century life in the West. A judicious selection from key work by Stephen Heath, Fredric Jameson, Laura Mulvey, Mary Ann Doane, and others, representing the most important contemporary writing about film. Discusses how film theory has been influenced by the writings of Saussure, Freud, Lacan, Althusser, Derrida and Kristeva and how, since 1968, it has been concerned not so much with theme and content as the deeper question of how the film text works or operates on its viewer. Shows how film theory brings together three key areas as a result: modes of textual analysis, developed by linguistics and semiology; a Marxist account of ideology; theories of subjectivity, spectatorship and gender.
Table of Contents
- Part 1 Introduction: classic film theory
- semiotics
- politics and ideology
- politics and subjectivity
- politics and gender. Part 2 Vision and phantasy: fetishism, Sigmund Freud
- the mirror stage, Jacques Lacan. Ideology and subjectivity: cinema, ideology, criticism 1, Louis Comolli and Jean Narboni
- realism and the cinema - notes on some Brechtian theses, Colin MacCabe
- class and allegory in contemporary mass culture - "Dog Day Afternoon" as a political film, Fredric Jameson. Part 3 Gender and the gaze: visual pleasure and narrative cinema, Laura Mulvey
- afterthoughts on "Visual Pleasure and Narrative Cinema"
- double indemnity, Claire Johnston
- from "Fantasia", Liz Cowie
- from "The Desire to Desire", Mary Ann Doane
- from "Casablanca" to "Pretty Woman" - the politics of romance, Rob Lapsley and Michael Westlake.
- Volume
-
: pbk ISBN 9780582090323
Description
During the twentieth century, the medium of film has developed as a means of understanding the complexity of modern life. Since 1968, film theory has concentrated not so much on theme or content but on the deeper question of how the medium works on its viewer. Film theory has been profoundly influenced by the writings of such modern thinkers as Saussure, Freud, Lacan, Anthusser, Derrida and Kristeva. It combines modes of textual analysis relating to linguistics and semiology, a Marxist reading of ideology, and theories of subjectivity, the spectator and gender redefined by psychoanalysis.
This judicious selection from key work by Stephen Heath, Fredric Jameson, Laura Mulvey, Mary Ann Doanne and others, represents some of the most important contemporary writing about film. It provides a consistent and developing analysis that will be of interest to students concerned with film and film studies, as well as students of cultural, media and communication studies.
Table of Contents
- General Editors' Preface. Acknowledgements. Part 1 Introduction Classic film theory
- semiotics
- politics and ideology
- politics and subjectivity
- politics and gender Part 2 Vision and phantasy Fetishism, Sigmund Freud
- the mirror stage, Jacques Lacan. Ideology and subjectivity: cinema, ideology, criticism, Louis Comolli and Jean Narboni
- realism and the cinema - notes on some Brechtian theses, Colin MacCabe
- class and allegory in contemporary mass culture - "Dog Day Afternoon" as a political film, Fredric Jameson. Part 3 Gender and the gaze Visual pleasure and narrative cinema, Laura Mulvey
- afterthoughts on "Visual Pleasure and Narrative Cinema"
- double indemnity, Claire Johnston
- from "Fantasia", Liz Cowie
- from "The Desire to Desire", Mary Ann Doane
- from "Casablanca" to "Pretty Woman" - the politics of romance, Rob Lapsley and MichaelWestlake.
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