Film Theory An Introduction Through the Senses

ISBN-10: 041580101X
ISBN-13: 9780415801010
Edition: 2010
List price: $27.99 Buy it from $23.20
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Description: What is the relationship between cinema and spectator? That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theoriesa "from the  More...

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Book details

List price: $27.99
Copyright year: 2010
Publisher: Taylor & Francis Group
Publication date: 1/18/2010
Binding: Paperback
Pages: 232
Size: 5.75" wide x 8.75" long x 0.25" tall
Weight: 1.078
Language: English

What is the relationship between cinema and spectator? That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theoriesa "from the classical period to todaya "in this insightful, engaging book. Every kind of cinema (and film theory) imagines 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 progressively from a ~exteriora (TM) to a ~interiora (TM) relationships, the authors retrace the most important stages of film theory from 1945 to the present, from neo-realist and modernist theories to psychoanalytic, a ~apparatusa (TM), phenomenological and cognitivist theories.

Thomas Elsaesser is Professor Emeritus of Film and Television Studies at the University of Amsterdam and since 2006 Visiting Professor at Yale University. Among his recent books as author are: Weimar Cinema and After (Routledge 2000); Metropolis (BFI 2000); Studying Contemporary American Film (Hodder, 2002, with Warren Buckland); European Cinema: Face to Face with Hollywood (Amsterdam University Press, 2005); Film Theory: An Introduction Through the Senses (Routledge 2010, with Malte Hagener). 

Acknowledgments
Introduction: film theory, cinema, the body and the senses
Cinema as window and frame
Rear Window
Constructivism
Realism
Open and closed film forms (Leo Braudy)
Classical cinema
Central perspective
Rudolf Arnheim
Sergej Eisenstein
Andr� Bazin
David Bordwell
Cinema as shop-window and display
Cinema as door - screen and threshold
The Searchers
Entry into the film
Etymology of screen
Thresholds of the cinema/movie theater
Beginnings: credits and credit sequences
Neo-formalism (Bordwell/Thompson)
Post-structuralism (Thierry Kuntzel)
Michail Bachtin
Door/screen as filmic motif in Buster Keaton and Woody Allen
Cinema as mirror and face
Persona
B�la Bal�zs
The close-up
The face
Face as mirror of the unconscious
Christian Metz
Jean-Louis Baudry
Apparatus-theory
Early cinema and the close-up (Tom Gunning)
Reflexive doubling in modern (art) cinema
Mirror neurons
Paradoxes of the mirror
Cinema as eye - look and gaze
Blade Runner
Active and passive eye
The mobile eye of early cinema
Dziga Vertov
Apparatus-theory
Suture
Continuity-editing
Laura Mulvey
Feminist film theories
The Silence of the Lambs
Historicity of modes of perception
Regimes of the gaze
The big Other (Jacques Lacan)
Slavoj �i�ek
The panoptic gaze (Michel Foucault)
Niklas Luhmann and self-monitoring
Cinema as skin and touch
Crash
Critique of "ocularcentrism"
Skin and identity
The New world
Vivian Sobchack
Phenomenology
The (re-)turn to the body
Avant-garde practices
Body and genre (Linda Williams, Barbara Creed)
The skin of film (Laura Marks)
Accented cinema (Hamid Naficy)
Siegfried Kracauer
Cinema as ear - acoustics and space
Singin' in the Rain
Sound as spatial phenomenon
Silent cinema and the introduction of sounds
Sound in classical cinema
The acousni�tre (Michel Chion)
Reversals in the hierarchy of image and sound
Surround-systems
Materiality and plasticity of sound
Cinema as brain - mind and body
Eternal Sunshine of the Spotless Mind
Propaganda and cult films
Five concepts for connecting mind and cinema
Gilles Deleuze
Annette Michelson
Torben Grodal
Mind-game films
Mind and body, spectator and film
Cognitivism
Phenomenology
Empathy
Embodiment and disembodied vision
Conclusion: digital cinema-the body and the senses refigured?
Toy story
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?
Notes
Bibliography
Index

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