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Since publication of the first edition in 1974, Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." 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. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."
These two volumes examine a significant but previously neglected moment in French cultural history: the emergence of French film theory and criticism before the essays of Andr� Bazin. Richard Abel has devised an organizational scheme of six nearly symmetrical periods that serve to "bite into" the discursive flow of early French writing on the cinema. Each of the periods is discussed in a separate and extensive historical introduction, with convincing explications of the various concepts current at the time. In each instance, Abel goes on to provide a complementary anthology of selected texts in translation. Amounting to a portable archive, these anthologies make available a rich selection of nearly one hundred and fifty important texts, most of them never before published in English.
Brought up to date with an expanded range of selections, extended historical coverage, and a dedicated pluralistic commitment, the third edition of this highly popular text on film aesthetics features major additions of contemporary topics in film theory--including psychoanalytic, feminist, and Marxist approaches--and new essays on television, horror films, and experimental movie making. Of the 53 selections, 13 are new. The section "Kinds of Film" has been retitled "Film Genres" and concentrates exclusively on the distinctions within a single type of film: classical Hollywood narrative cinema. The final section, now called "Film: Psychology, Society, and Ideology" is substantially revised to take into account film's relationship to its consumers: how films shape or reflect cultural attitudes, reinforce or reject dominant modes of cultural thinking, and stimulate or frustrate people's needs and drives. Throughout the book chapter introductions have been rewritten to reflect today's concerns. Current and comprehensive, the book that The Journal of Aesthetics and Art Criticism called "the best collection available on the disparate comments in the fields of film theory and criticism" is now even better.
The third part of a three-volume work devoted to mapping the transnational history of Australian film studies, Australian Film Theory and Criticism, Volume 3 concludes the project by gathering together the 'Documents' that were produced during the academicisation of film studies in Australia in the period 1975-85. Through these sources we see the development of the particularities of Australian film theory and criticism, its relationship to its international counterparts and the establishment of key positions and the directions in which they develop. Editors Constantine Verevis and Deane Williams here collect the key texts discussed in Volumes 1 and 2, including the crucial works of the likes of Paul Willemen, Sam Rohdie, Ross Gibson and Meaghan Morris among many others, thus concluding this pioneering historiographic account of Australian film studies.
Feminist Film Studies is a readable, yet comprehensive textbook for introductory classes in feminist film theory and criticism. Karen Hollinger provides an accessible overview of women’s representation and involvement in film, complemented by analyses of key texts that illustrate major topics in the field. Key areas include: a brief history of the development of feminist film theory the theorization of the male gaze and the female spectator women in genre films and literary adaptations the female biopic feminism and avant-garde and documentary film women as auteurs lesbian representation women in Third Cinema. Each chapter includes a "Films in Focus" section, which analyzes key texts related to the chapter’s major topic, including examples from classical Hollywood, world cinema, and the contemporary period. This book provides students in both film and gender/women’s studies with a clear introduction to the field of feminist film theory and criticism.
European Film Theory and Cinema explores the major film theories and movements within European cinema since the early 1900s. An original and critically astute study, it considers film theory within the context of the intellectual climate of the last two centuries. Ian Aitkin focuses particularly on the two major traditions that dominate European film theory and cinema: the "intuitionist modernist and realist" tradition and the "post-Saussurian" tradition. The first originates in a philosophical lineage that encompasses German idealist philosophy, romanticism, phenomenology, and the Frankfurt School. Early intuitionist modernist film culture and later theories and practices of cinematic realism are shown to be part of one continuous tradition. The post-Saussurian tradition includes semiotics, structuralism, and post-structuralism.
Fifty theoretical essays by distinctively original and influential film critics and filmmakers are grouped in categories having to do with general considerations, structuralism-semiology, political factors, genre, feminism, auteur theory, and mise-en-scene

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