Movies and Methods: An Anthology, Tom 1Bill Nichols University of California Press, 1976 - 640 Film teachers and students will welcome this new anthology, which makes available in one source a comprehensive selection of recent theoretical work on film, including many articles difficult to locate in the scattered literature. The contents are drawn almost entirely from the publications of the past fifteen years, and include work by the most original film thinkers--some well known to a wide public, some widely known among readers of film journals. Several important filmmakers are also represented. The materials have been grouped in critical categories reflecting recent approaches to the medium. In place of older questions such as the relation of film to other arts, or film's ability to capture an imprint of reality, the questions emphasized in the anthology concern film's ideological operations, the nature of film genres, the role of the auteur in the creative process, the representation of social groups (such as women) in film, the logical of narrative and formal organizations in films, the treatment of films as myths, and new theoretical perspectives. Thus the contents reflect the use of political, structualist, semiological and psychoanalytic methods, as well as those of more traditional criticism. There is virtually no duplication of materials included in the Mast & Cohen anthology Film Theory and Criticism. The editor has provided an overall general introduction, and mini-introductions to each text. A glossary of terms used in structuralist-semiological work is included, and lists of additional readings are provided. Its scope and careful organization will make this volume a fundamental resource for film scholarship and teaching. |
Spis treści
CONTEXTUAL CRITICISM | 5 |
The Lef Arena O BRIK AND V SHKLOVSKY | 15 |
CinemaIdeologyCriticism JEANLOUIS COMOLLI AND JEAN NARBONI | 22 |
Fascinating Fascism SUSAN SONTAG | 31 |
Towards a Third Cinema FERNANDO SOLANAS AND OCTAVIO | 44 |
Frank Capra and the Cinema of Populism JEFFREY RICHARDS | 65 |
Serpico IRWIN SILBER | 78 |
Vent dEst or Godard and Rocha at the Crossroads JAMES | 91 |
To Have written and Have Not directed ROBIN WOOD | 297 |
BlowJob and Pornography STEPHEN KOCH | 305 |
The Long Take BRIAN HENDERSON | 314 |
Some Visual Motifs of Film Noir J A PLACE AND L S PETERSON | 325 |
Disputed Passage FRED CAMPER | 339 |
Shape and a Black Point GEOFFREY NOWELLSMITH | 354 |
Illusion and Object REGINA CORNWELL | 363 |
FILM THEORY | 377 |
GENRE CRITICISM | 107 |
Genre and Critical Methodology ANDREW TUDOR | 118 |
Meep Meep RICHARD THOMPSON | 126 |
Prospects of the Ethnographic Film DAVID MACDOUGALL | 135 |
The Evolution of the Western ANDRÉ BAZIN | 150 |
A Reply to Ed Buscombe RICHARD COLLINS | 157 |
The Western ALAN LOVELL | 164 |
Vivre Sa Vie SIEW HWA BEH | 180 |
Bree Daniels in Klute DIANE GIDDIS | 194 |
The Womans Film SIEW HWA BEH | 201 |
Womens Cinema as CounterCinema CLAIRE JOHNSTON | 208 |
AUTEUR CRITICISM | 221 |
Towards a Theory of Film History ANDREW SARRIS | 237 |
The Cinema of Nicholas Ray V F PERKINS | 251 |
Six Films of Josef von Sternberg RAYMOND DURGNAT | 262 |
Citizen Kane DAVID BORDWELL | 273 |
Shock Corridor by Sam Fuller THOMAS ELSAESSER | 290 |
Two Types of Film Theory BRIAN HENDERSON | 388 |
A Critical History of Early Film Theory V F PERKINS | 401 |
Toward a NonBourgeois Camera Style BRIAN HENDERSON | 422 |
The TutorCode of Classical Cinema DANIEL DAYAN | 438 |
Against The System of the Suture WILLIAM ROTHMAN | 451 |
Totems and Movies SAM ROHDIE | 469 |
Some Points of Contact PETER WOLLEN | 481 |
John Fords Young Mr Lincoln THE EDITORS CAHIERS DU CINÉMA | 493 |
The Auteur Theory PETER WOLLEN | 529 |
The Cinema of Poetry PIER PAOLO PASOLINI | 542 |
Structure and Meaning in the Cinema RONALD ABRAMSON | 558 |
Jean Mitrys LEsthétique | 568 |
From Logos to Lens YVES DE LAUROT | 578 |
Articulations of the Cinematic Code UMBERTO ECO | 590 |
Style Grammar and the Movies BILL NICHOLS | 607 |
Glossary | 629 |
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Kluczowe wyrazy i wyrażenia
absent-one action aesthetic American analysis André Bazin artistic auteur criticism auteur theory Bazin becomes bourgeois Bree Brian Henderson Cahiers du Cinéma camera Capra character Christian Metz cinema Citizen Kane classical close-up communication concept context culture Darling Clementine dialogue director effect Eisenstein elements essay example expression fact fiction Film Quarterly film theory film-maker film's filmic Ford Ford's formal frame function genre Godard Hawks Hawks's hero Hollywood iconic ideology Kane Kane's kinesic Klute language Lincoln linguistic long take meaning metaphor Metz mise-en-scène montage myth narrative nature object Pasolini Peter Wollen political possible problem produced question reality relation relationship revolutionary Riefenstahl Rio Lobo scene screen semiology sense sequence Sharits signifier signs social sound spectator structure style stylistic symbolic thematic theme theoretical tion tracking shot viewer visual Western Wollen woman women women's cinema