In this volume, Noel Carroll examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, and comedy, and such topics as sight gags, film metaphor, point-of-view editing, and movie music.
In this volume, Noel Carroll examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, and comedy, and such topics as sight gags, film metaphor, point-of-view editing, and movie music.
Part I. Questioning Media: 1. Medium specificity arguments and the self-consciously invented arts 2. The specificity of media in the arts 3. Concerning uniqueness claims for photographic and cinematographic representation 4. Defining the moving image Part II. Popular Film and TV: 5. The power of movies 6. Toward a theory of film suspense 7. As the dial turns: notes on soap operas 8. Toward a theory of point of view editing 9. Notes on movie music 10. Notes on the sight gag Part III. Avant-garde and Documentary Film: 11. Avant-garde film and film theory 12. Causation, the amplification of movement and the avant-garde film 13. Language and cinema: preliminary notes for a theory of verbal images 14. A note on film metaphor 15. From real to reel: entangled in non-fiction film 16. Reply to Carol Browson and Jack C. Wolf Part IV. Ideology: 17. The image of women in film: a defense of a paradigm 18. Film, rhetoric and ideology Part V. The History of Film Theory: 19. Film/mind analogies: the case of Hugo Munsterberg 20. Hans Richter's Struggle for Film 21. A brief note on Frampton's notion of metahistory Part VI. Polemical Exchanges: 22. Cognitivism, contemporary film theory and method 23. Cracks in the acoustic mirror 24. A reply to Heath 25. Replies to Jennifer Hammett and Richard Allen Part VII. False Starts: 26. Film history and film theory 27. Art, film and ideology 28. Toward a theory of film editing.
Part I. Questioning Media: 1. Medium specificity arguments and the self-consciously invented arts 2. The specificity of media in the arts 3. Concerning uniqueness claims for photographic and cinematographic representation 4. Defining the moving image Part II. Popular Film and TV: 5. The power of movies 6. Toward a theory of film suspense 7. As the dial turns: notes on soap operas 8. Toward a theory of point of view editing 9. Notes on movie music 10. Notes on the sight gag Part III. Avant-garde and Documentary Film: 11. Avant-garde film and film theory 12. Causation, the amplification of movement and the avant-garde film 13. Language and cinema: preliminary notes for a theory of verbal images 14. A note on film metaphor 15. From real to reel: entangled in non-fiction film 16. Reply to Carol Browson and Jack C. Wolf Part IV. Ideology: 17. The image of women in film: a defense of a paradigm 18. Film, rhetoric and ideology Part V. The History of Film Theory: 19. Film/mind analogies: the case of Hugo Munsterberg 20. Hans Richter's Struggle for Film 21. A brief note on Frampton's notion of metahistory Part VI. Polemical Exchanges: 22. Cognitivism, contemporary film theory and method 23. Cracks in the acoustic mirror 24. A reply to Heath 25. Replies to Jennifer Hammett and Richard Allen Part VII. False Starts: 26. Film history and film theory 27. Art, film and ideology 28. Toward a theory of film editing.
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