PN1994.M364

Includes bibliographical references and index

PREFACE I. FILM LANGUAGE 1. VSEVOLOD PUDOVKIN from Film Technique [On Editing] 2. SERGEI EISENSTEIN from Film Form Beyond the Shot [The Cinematographic Principle and the Ideogram] The Dramaturgy of Film Form [The Dialectic Approach to Film Form] 3. ANDRE BAZIN from What is Cinema? The Evolution of the Language of Cinema 4. BRIAN HENDERSON Toward a Non-Bourgeois Camera Style 5. CHRISTIAN METZ from Film Language Some Points in the Semiotics of Cinema Problems of Denotation in the Fiction Film 6. GILBERT HARMAN Semiotics and the Cinema: Metz and Wollen 7. STEPHEN PRINCE The Discourse of Pictures: Iconicity and Film Studies 8. DANIEL DAYAN The Tutor-Code of Classical Cinema 9. WILLIAM ROTHMAN Against "The System of Suture" 10. NICK BROWNE The Spectator-in-the-Text: The Rhetoric of Stagecoach II. FILM AND REALITY 1. SIEGFRIED KRACAUER from Theory of Film The Establishment of Physical Existence 2. ANDRE BAZIN from What is Cinema? The Ontology of the Photographic Image The Myth of Total Cinema 3. RUDOLF ARNHEIM from Film As Art The Complete Film 4. JEAN-LOUIS BAUDRY The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema 5. NOEL CARROLL from Mystifying Movies Jean-Louis Baudry and "The Apparatus" 6. JONATHAN CRARY from Modernizing Vision 7. GILLES DELEUZE from Cinema Preface to the English Edition The Origin of the Crisis: Italian Neo-realism and the French New Wave Beyond the Movement-Image III. THE FILM MEDIUM: IMAGE AND SOUND 1. ERWIN PANOFSKY Style and Medium in the Motion Pictures 2. SIEGFRIED KRACAUER from Theory of Film The Establishment of Physical Existence 3. BELA BALASZ from Theory of the Film The Close-up The Face of Man 4. RUDOLF ARNHEIM from Film As Art Film and Reality The Making of a Film 5. NOEL CARROLL from Philosophical Problems of Classical Film Theory The Specificity Thesis 6. GERALD MAST from Film/Cinema/Movie Projection 7. STANLEY CAVELL from The World Viewed Photograph and Screen Audience, Actor, and Star Types: Cycles as Genres Ideas of Origin 8. SERGEI EISENSTEIN, VSEVELOD PUDOVKIN, and GRIGORI ALEXANDROV Statement on Sound 9. MARY ANN DOANE The Voice in the Cinema: The Articulation of Body and Space 10. JOHN BELTON Technology and Aesthetics of Film Sound IV. FILM NARRATIVE AND THE OTHER ARTS 1. ANDRE BAZIN from What is Cinema? Theater and Cinema 2. LEO BRAUDY from The World in a Frame Acting: Stage vs. Screen 3. SERGEI EISENSTEIN from Dickens, Griffith, and Ourselves [Dickens, Griffith, Film Today] 4. DUDLEY ANDREW from Concepts in Film Theory Adaptation 5. BRIAN MCFARLANE from Novel to Film 6. TOM GUNNING Narrative Discourse and the Narrator System 7. JERROLD LEVINSON Film Music and Narrative Agency 8. PETER WOLLEN Godard and Counter Cinema: Vent d'est 9. DAVID BORDWELL Cognition and Comprehension: Viewing and Forgetting in Mildred Pierce V. THE FILM ARTIST 1. ANDREW SARRIS Notes on the Auteur Theory in 1962 2. PETER WOLLEN from Signs and Meaning in the Cinema The Auteur Theory [Howard Hawks and John Ford] 3. ROLAND BARTHES The Face of Garbo 4. GILBERTO PEREZ from The Material Ghost [On Keaton and Chaplin] 5. RICHARD DYER from Stars 6. JAMES NAREMORE from Acting in the Cinema Katherine Hepburn in Holiday 7. MOLLY HASKELL from From Reverence to Rape Woman Stars of the 1940s 8. RICHARD B. JEWELL How Howard Hawks Brought Baby Up: An Apologia for the Studio System 9. THOMAS SCHATZ from The Genius of the System Introduction: "The Whole Equation of Pictures" VI. FILM GENRES 1. LEO BRAUDY from The World in a Frame Genre: The Conventions of Connection 2. RICK ALTMAN A Semantic/Syntactic Approach to Film Genre 3. THOMAS SCHATZ from Hollywood Genres Film Genre and the Genre Film 4. ROBERT WARSHOW The Gangster as Tragic Hero 5. PAUL SCHRADER Notes on Film Noir 6. ROBIN WOOD Ideology, Genre, Auteur 7. LINDA WILLIAMS Film Bodies: Gender, Genre, and Excess 8. CYNTHIA A. FREELAND Feminist Frameworks for Horror Films 9. TANIA MODLESKI The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory 10. DAVID BORDWELL The Art Cinema as a Mode of Film Practice VII. FILM: SPECTATOR AND AUDIENCE 1. WALTER BENJAMIN The Work of Art in the Age of Mechanical Reproduction 2. JEAN COMOLLI AND JEAN NARBONI Cinema/Ideology/Criticism 3. CHRISTIAN METZ From The Imaginary Signifier Identification, Mirror The Passion for Perceiving Fetishism, Disavowal 4. LAURA MULVEY Visual Pleasure and Narrative Cinema 5. TANIA MODLESKI from The Women Who Knew Too Much: Hitchcock and Feminist Theory The Master's Dollhouse: Rear Window 6. TOM GUNNING An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator 7. ROBERT STAM and LOUISE SPENCE Colonialism, Racism, and Representation: An Introduction 8. MANTHIA DIAWARA Black Spectatorship: Problems of Identification and Resistance VIII. FILM: DIGITIZATION AND GLOBALIZATION 1. LEV MANOVICH from The Language of New Media 2. ANNE FRIEDBERG The End of Cinema: Multimedia and Technological Change 3. PHILIP ROSEN from Change Mummified 4. MICHAEL ALLEN The Impact of Digital Technologies on Film Aesthetics 5. KRISTEN WHISSEL Tales of Upward Mobility: The New Verticality and Digital Special Effects 6. STEPHEN CROFTS Reconceptualizing National Cinemas 7. MITSUHIRO YOSHIMOTO The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order 8. WIMAL DISSANAYAKE Issues in World Cinema INDEX

Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its seventh edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory--including Rudolf Arnheim, Siegfried Kracauer, and Andre Bazin--and cutting-edge essays by such contemporary scholars as David Bordwell, Tania Modleski, Thomas Schatz, and Richard Dyer, the book examines both historical and theoretical viewpoints on the subject. 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 contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into eight sections--each comprising the major fields of critical controversy and analysis--this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. The seventh edition also integrates exciting new material on feminist theory, queer cinema, and global cinema, as well as a new section, "Digitization and Globalization," which engages important recent developments in technology and world cinema. A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism. ABOUT THE EDITORS Leo Braudy is University Professor and Bing Professor of English at the University of Southern California. Among other books, he is author of Native Informant: Essays on Film, Fiction, and Popular Culture (OUP, 1991), The Frenzy of Renown: Fame and Its History (OUP, 1986), and most recently, From Chivalry to Terrorism: War and the Changing Nature of Masculinity (2003). Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California. He is coeditor, with Roger Copeland, of What Is Dance? Readings in Theory and Criticism (OUP, 1983) and founding editor of Philosophy and Public Affairs.