The Oxford Guide to Film Studies represents the most comprehensive and up-to-date critical guide to the study of film explaining all the significant theories, debates, and approaches to the study of film. Organized in three sections: Approaches; Hollywood and the World; and World Cinema a host of the worlds leading experts outline the major debates in the subject in such topics as diverse as psychoanalysis and film, audience studies and cinema, postmodernism in the cinema, the Hollywood star system, film acting and film music as well as such areas of growing interest as gay and lesbian…mehr
The Oxford Guide to Film Studies represents the most comprehensive and up-to-date critical guide to the study of film explaining all the significant theories, debates, and approaches to the study of film. Organized in three sections: Approaches; Hollywood and the World; and World Cinema a host of the worlds leading experts outline the major debates in the subject in such topics as diverse as psychoanalysis and film, audience studies and cinema, postmodernism in the cinema, the Hollywood star system, film acting and film music as well as such areas of growing interest as gay and lesbian criticism, cultural studies and audience studies and postcolonial theory. The book also includes `readings illustrating the variety of theoretical approaches, sections on further reading , chapter summaries, and is illustrated throughout.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
John Hill is Senior Lecturer at the Department of Media and Performance Studies at the University of Ulster at Coleraine Pamela Church Gibson is a Senior Lecturer in Contextual and Cultural Studies at the London College of Fashion, a constituent college of the London Institute CONSULTANT EDITORS: Richard Dyer is Professor of Film Studies at the University of Warwick E. Ann Kaplan teaches in the Department of English at the Humanities Institute at Stony Brook, New York Paul Willemen is Professor, Department of Media Studies, Napier University, Edinburgh
Inhaltsangabe
* General Introduction * PART ONE: CRITICAL APPROACHES * 1: Richard Dyer: Introduction to Film Studies * STUDYING THE FILM TEXT * 2: Robert Phillip Kolker: The Film Text and Film Form * 3: Paul McDonald: Film Acting * 4: Pamela Church Gibson: Film Costume * 5: Claudia Gorbman: Film Music * THE FILM TEXT: THEORETICAL DEVELOPMENTS * 6: Anthony Easthope: Classic Film Theory and Semiotics * 7: Ian Christie: Formalism and Neo-formalism * 8: Robert B Ray: Impressionism, Surrealism, and Film Theory * 9: Barbara Creed: Film and Psychoanalysis * 10: Peter Brunette: Post-Structuralism and Deconstruction * 11: John Hill: Film and Postmodernism * FILM TEXT AND CONTEXT: GENDER, IDEOLOGY, AND IDENTITIES * 12: Chuck Kleinhans: Marxism and Film * 13: Patricia White: Feminism and Film * 14: Anneke Smelik: Gay and Lesbian Criticism * 15: Alexander Doty: Queer Theory * 16: Laura Kipnis: Pornography * 17: Robyn Wiegman: Race, Ethnicity, and Film * 18: Ray Chow: Film and Cultural Identity * FILM TEXT AND CONTEXT: CULTURE, HISTORY, AND RECEPTION * 19: Dudley Andrew: Film and History * 20: Andrew Tudor: Sociology and Film * 21: Graeme Turner: Cultural Studies and Film * 22: Jostein Gripsrud: Film Audiences * 23: Noel King: Hermeneutics, Reception Aesthetics, and Film Interpretation * PART TWO: AMERICAN CINEMA AND HOLLYWOOD: CRITICAL APPROACHES. * AMERICAN CINEMA: HISTORY, INDUSTRY, AND INTERPRETATION * 1: John Belton: American Cinema and Film History * 2: Duncan Petrie: History and Cinema Technology * 3: Douglas Gomery: Hollywood as Industry * 4: Tom Gunning: Early American Film * 5: E. Ann Kaplan: Classical Hollywood Film and Melodrama * 6: Peter ???: Post-classical Hollywood * CRITICAL CONCEPTS * 7: Stephen Crofts: Authorship and Hollywood * 8: Tom Ryall: Genre and Hollywood * 9: Jeremy G. Butler: The Star System and Hollywood * POLITICS AND SOCIETY * 10: Douglas Kellner: Hollywood Film and Society * 11: Albert Moran: Film Policy: Hollywood and Beyond * 12: Toby Miller: Hollywood and the World * PART THREE: WORLD CINEMA: CRITICAL APPROACHES * REDEFINING CINEMA: INTERNATIONAL AND AVANT-GARDE ALTERNATIVES * 1: Stephen Crofts: Concepts of National Cinema * 2: Murray Smith: Modernism and the Avante-Gardes * 3: Ashish Rajadhyaksha: Realism, Modernism, and Post-Colonial * REDEFINING CINEMA: OTHER GENRES * 4: John Izod and Richard Kilborn: The Documentary Film * 5: Michael OPray: The Animated Film * EUROPEAN CINEMA * 6: Ginette Vincendeau: Iss ues in European Cinema * CASE-STUDIES: MOVEMENTS, MOMENTS, AND FILMMAKERS * 7: Ian Christie: The Avant-Gardes and European Cinema before 1930 * 8: Simona Monticelli: Italian Post-War Cinema and Neo-Realism * 9: Jill Forbes: The French Nouvelle Vague * 10: Ulrike Sieglohr: New German Cinema * 11: Daniel Goulding: East-Central European Cinema * 12: Armand Mattelart: European Film Policy and the Response to Hollywood * 13: Directors and Stars * (a) Jean Renoir * (b) Ingmar Bergman * (c) Chantal Akerman * (d) Pedro Almodóvar * (e) Luc Besson * (f) Brigitte Bardot: A Star Case Study: Ginette Vincendeau * ANGLOPHONE NATIONAL CINEMAS * CASE-STUDIES * 14: Andrew Higson: British Cinema * 15: Martin McLoone: Ireland and Cinema * 16: Elizabeth Jacka: Australian Cinema * 17: Will Straw: Canadian Cinema * WORLD CINEMA * 18: Wimal Dissanayake: Issues in World Cinema * CASE-STUDIES: CINEMAS OF THE WORLD * 19: Ashish Rajadhyaksha: Indian Cinema * 20: Berenice Reynaud: Chinese Cinema * 21(a): Stephen Teo: Hong Kong Cinema: Discovery and Pre-Discovery * 21(b): N. K. Leung: China, and 1997 * 22: Kuan-Hsing Chen: Taiwanese New Cinema * 23: Freda Freiberg: Japanese Cinema * 24 Zc African Cinema: N. Frank Ukadike * 25: Julianne Burton-Carvajal: South American Cinema * FILM IN A CHANGING AGE * 26: Laura Kipnis: Film and Changing Technologies * 27: John Hill: Film and Television
* General Introduction * PART ONE: CRITICAL APPROACHES * 1: Richard Dyer: Introduction to Film Studies * STUDYING THE FILM TEXT * 2: Robert Phillip Kolker: The Film Text and Film Form * 3: Paul McDonald: Film Acting * 4: Pamela Church Gibson: Film Costume * 5: Claudia Gorbman: Film Music * THE FILM TEXT: THEORETICAL DEVELOPMENTS * 6: Anthony Easthope: Classic Film Theory and Semiotics * 7: Ian Christie: Formalism and Neo-formalism * 8: Robert B Ray: Impressionism, Surrealism, and Film Theory * 9: Barbara Creed: Film and Psychoanalysis * 10: Peter Brunette: Post-Structuralism and Deconstruction * 11: John Hill: Film and Postmodernism * FILM TEXT AND CONTEXT: GENDER, IDEOLOGY, AND IDENTITIES * 12: Chuck Kleinhans: Marxism and Film * 13: Patricia White: Feminism and Film * 14: Anneke Smelik: Gay and Lesbian Criticism * 15: Alexander Doty: Queer Theory * 16: Laura Kipnis: Pornography * 17: Robyn Wiegman: Race, Ethnicity, and Film * 18: Ray Chow: Film and Cultural Identity * FILM TEXT AND CONTEXT: CULTURE, HISTORY, AND RECEPTION * 19: Dudley Andrew: Film and History * 20: Andrew Tudor: Sociology and Film * 21: Graeme Turner: Cultural Studies and Film * 22: Jostein Gripsrud: Film Audiences * 23: Noel King: Hermeneutics, Reception Aesthetics, and Film Interpretation * PART TWO: AMERICAN CINEMA AND HOLLYWOOD: CRITICAL APPROACHES. * AMERICAN CINEMA: HISTORY, INDUSTRY, AND INTERPRETATION * 1: John Belton: American Cinema and Film History * 2: Duncan Petrie: History and Cinema Technology * 3: Douglas Gomery: Hollywood as Industry * 4: Tom Gunning: Early American Film * 5: E. Ann Kaplan: Classical Hollywood Film and Melodrama * 6: Peter ???: Post-classical Hollywood * CRITICAL CONCEPTS * 7: Stephen Crofts: Authorship and Hollywood * 8: Tom Ryall: Genre and Hollywood * 9: Jeremy G. Butler: The Star System and Hollywood * POLITICS AND SOCIETY * 10: Douglas Kellner: Hollywood Film and Society * 11: Albert Moran: Film Policy: Hollywood and Beyond * 12: Toby Miller: Hollywood and the World * PART THREE: WORLD CINEMA: CRITICAL APPROACHES * REDEFINING CINEMA: INTERNATIONAL AND AVANT-GARDE ALTERNATIVES * 1: Stephen Crofts: Concepts of National Cinema * 2: Murray Smith: Modernism and the Avante-Gardes * 3: Ashish Rajadhyaksha: Realism, Modernism, and Post-Colonial * REDEFINING CINEMA: OTHER GENRES * 4: John Izod and Richard Kilborn: The Documentary Film * 5: Michael OPray: The Animated Film * EUROPEAN CINEMA * 6: Ginette Vincendeau: Iss ues in European Cinema * CASE-STUDIES: MOVEMENTS, MOMENTS, AND FILMMAKERS * 7: Ian Christie: The Avant-Gardes and European Cinema before 1930 * 8: Simona Monticelli: Italian Post-War Cinema and Neo-Realism * 9: Jill Forbes: The French Nouvelle Vague * 10: Ulrike Sieglohr: New German Cinema * 11: Daniel Goulding: East-Central European Cinema * 12: Armand Mattelart: European Film Policy and the Response to Hollywood * 13: Directors and Stars * (a) Jean Renoir * (b) Ingmar Bergman * (c) Chantal Akerman * (d) Pedro Almodóvar * (e) Luc Besson * (f) Brigitte Bardot: A Star Case Study: Ginette Vincendeau * ANGLOPHONE NATIONAL CINEMAS * CASE-STUDIES * 14: Andrew Higson: British Cinema * 15: Martin McLoone: Ireland and Cinema * 16: Elizabeth Jacka: Australian Cinema * 17: Will Straw: Canadian Cinema * WORLD CINEMA * 18: Wimal Dissanayake: Issues in World Cinema * CASE-STUDIES: CINEMAS OF THE WORLD * 19: Ashish Rajadhyaksha: Indian Cinema * 20: Berenice Reynaud: Chinese Cinema * 21(a): Stephen Teo: Hong Kong Cinema: Discovery and Pre-Discovery * 21(b): N. K. Leung: China, and 1997 * 22: Kuan-Hsing Chen: Taiwanese New Cinema * 23: Freda Freiberg: Japanese Cinema * 24 Zc African Cinema: N. Frank Ukadike * 25: Julianne Burton-Carvajal: South American Cinema * FILM IN A CHANGING AGE * 26: Laura Kipnis: Film and Changing Technologies * 27: John Hill: Film and Television
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