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Film Studies 2
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|Author||: Jill Nelmes|
This is a comprehensive textbook for students of cinema. It provides a guide to the main concepts used to analyse the film industry and film texts, and also introduces some of the world's key national cinemas.
|Author||: Susan Hayward|
In this second edition essential guide some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity.
|Author||: Ed Sikov|
|Editor||: Columbia University Press|
Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
|Author||: Helena Bassil-Morozow,Luke Hockley|
|Editor||: Taylor & Francis|
Jungian film studies is a fast-growing academic field, but Jungian and post-Jungian concepts are still new to many academics and film critics. Helena Bassil-Morozow and Luke Hockley present Jungian Film Studies: The Essential Guide, the first book to bring together all the different strands, issues and arguments in the discipline, and guide the reader through the various ways in which Jungian psychology can be applied to moving images. Bassil-Morozow and Hockley cover a range of Jungian concepts including the collective unconscious, archetypes, the individuation process, alchemy, and signs and symbols, showing how they can be used to discuss the core cinematic issues such as narrative structure, gender, identity, genre, authorship, and phenomenology. The authors argue that, as a place where the unconscious and conscious meet, cinema offers the potential for imagery that is psychologically potent, meaningful, and that plays a role in our personal psychological development. This much-needed book, which bridges the space between Jungian concepts and traditional film theory, will be essential reading for scholars and students of Analytical Psychology, psychoanalysis, Jungian film studies, media, film and cultural studies, psychosocial psychology and clinical psychology. It will also appeal to analytical psychologists, psychotherapists and readers with an interest in film analysis.
|Author||: Amy Villarejo|
Film Studies: The Basics is a compelling guide to the study of cinema in all its forms. This second edition has been thoroughly revised and updated to take account of recent scholarship, the latest developments in the industry and the explosive impact of new technologies. Core topics covered include: The history, technology and art of cinema Theories of stardom, genre and film-making The movie industry from Hollywood to Bollywood Who does what on a film set Complete with film stills, end-of-chapter summaries and a substantial glossary, Film Studies: The Basics is the ideal introduction to those new to the study of cinema.
|Author||: Karen Hollinger|
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.
|Author||: Saer Maty Ba,Will Higbee|
De-Westernizing Film Studies aims to consider what form a challenge to the enduring vision of film as a medium - and film studies as a discipline - modelled on ‘Western’ ideologies, theoretical and historical frameworks, critical perspectives as well as institutional and artistic practices, might take today. The book combines a range of scholarly writing with critical reflection from filmmakers, artists & industry professionals, comprising experience and knowledge from a wide range of geographical areas, film cultures and (trans-)national perspectives. In their own ways, the contributors to this volume problematize a binary mode of thinking that continues to promote an idea of ‘the West and the rest’ in relation to questions of production, distribution, reception and representation within an artistic medium (cinema) that, as part of contemporary moving image culture, is more globalized and diversified than at any time in its history. In so doing, De-Westernizing Film Studies complicates and/or re-thinks how local, national and regional film cultures ‘connect’ globally, seeking polycentric, multi-directional, non-essentialized alternatives to Eurocentric theoretical and historical perspectives found in film as both an artistic medium and an academic field of study. The book combines a series of chapters considering a range of responses to the idea of 'de-westernizing' film studies with a series of in-depth interviews with filmmakers, scholars and critics. Contributors: Nathan Abrams, John Akomfrah, Saër Maty Bâ, Mohammed Bakrim, Olivier Barlet, Yifen Beus, Farida Benlyazid, Kuljit Bhamra, William Brown, Campbell, Jonnie Clementi-Smith, Shahab Esfandiary, Coco Fusco, Patti Gaal-Holmes, Edward George, Will Higbee, Katharina Lindner, Daniel Lindvall, Teddy E. Mattera, Sheila Petty, Anna Piva, Deborah Shaw, Rod Stoneman, Kate E. Taylor-Jones
|Author||: Contemporary Cinema (China Film Archive)|
|Editor||: Intellect Books|
Film Studies in China 2 is a collection of selected articles chosen from issues of the journal Contemporary Cinema published throughout the year and translated for an English-speaking audience. As one of the most prestigious academic film studies journals in China, Contemporary Cinema has been active not only in publishing Chinese scholarship for Chinese readers but also in reaching out to academics from across the globe. This anthology hopes to encourage a cross-cultural academic conversation on the fields of Chinese cinema and media studies. Following the successful release of the first volume this is the second collection to be released in the Film Studies in China series.
|Author||: Lee Grieveson,Haidee Wasson|
|Editor||: Duke University Press|
Inventing Film Studies offers original and provocative insights into the institutional and intellectual foundations of cinema studies. Many scholars have linked the origins of the discipline to late-1960s developments in the academy such as structuralist theory and student protest. Yet this collection reveals the broader material and institutional forces—both inside and outside of the university—that have long shaped the field. Beginning with the first investigations of cinema in the early twentieth century, this volume provides detailed examinations of the varied social, political, and intellectual milieus in which knowledge of cinema has been generated. The contributors explain how multiple instantiations of film study have had a tremendous influence on the methodologies, curricula, modes of publication, and professional organizations that now constitute the university-based discipline. Extending the historical insights into the present, contributors also consider the directions film study might take in changing technological and cultural environments. Inventing Film Studies shows how the study of cinema has developed in relation to a constellation of institutions, technologies, practices, individuals, films, books, government agencies, pedagogies, and theories. Contributors illuminate the connections between early cinema and the social sciences, between film programs and nation-building efforts, and between universities and U.S. avant-garde filmmakers. They analyze the evolution of film studies in relation to the Museum of Modern Art, the American Film Council movement of the 1940s and 1950s, the British Film Institute, influential journals, cinephilia, and technological innovations past and present. Taken together, the essays in this collection reveal the rich history and contemporary vitality of film studies. Contributors: Charles R. Acland, Mark Lynn Anderson, Mark Betz, Zoë Druick, Lee Grieveson, Stephen Groening, Haden Guest, Amelie Hastie, Lynne Joyrich, Laura Mulvey, Dana Polan, D. N. Rodowick, Philip Rosen, Alison Trope, Haidee Wasson, Patricia White, Sharon Willis, Peter Wollen, Michael Zryd
|Author||: Bill Nichols|
|Editor||: W. W. Norton & Company|
In what ways do films influence and interact with society? What social forces determine the kinds of movies that get made? How do movies reinforce—and sometimes overturn—social norms? As societies evolve, do the films that were once considered ‘great’ slip into obscurity? Which ones? Why? These questions, and many others like them, represent the mainstream of scholarly film studies today. In Engaging Cinema, Bill Nichols offers the first book for introductory film students that tackles these topics head-on. Published in a handy 'trade paperback' format, Engaging Cinema is inexpensive and utterly unique in the field—a perfect complement to or replacement for standard film texts.
|Author||: Janet McCabe,Janet Elizabeth McCabe,Terri Murray|
|Editor||: Wallflower Press|
"Feminist Film studies: Writing the Woman into Cinema provides an introduction to feminist film theory as a discourse that grew in cultural significance since the early 1970s to the present." -- Page 4 of cover.
|Author||: Sarah Casey Benyahia,John White,Freddie Gaffney|
"This essential book covers all the key areas for students studying film studies and builds confidence through a careful, step-by-step approach. In the first part of the book, a basic understanding of the grounding of film analysis in the various elements of film construction - mise en scène, cinematography, editing, sound and performance - is established, developing the knowledge students have of movies whilst challenging them in new films and ideas. Key theoretical approaches around narrative, genre, representation, spectatorship and authorship are introduced in part two, before we consider specific national cinemas from around the world in parts three and four. In part five, the book assesses a range of slightly different film experiences, looking at silent cinema, experimental films and documentaries; before, finally, part six shifts to evaluating creative approaches to students' own filmmaking. Specifically designed to be user friendly, the book has an easy-to-follow design, includes more than sixty colour images and is packed with features such as: case studies on a range of films and filmmakers; activities on films like All About My Mother, Pride, Vertigo and We Need to Talk About Kevin; key terms; suggestions for further reading and website resources. Matched to the current exam specification, A Level Film Studies: The Essential Introduction covers everything students need to study as part of the course and is supported by a companion website at www.alevelfilmstudies.co.uk offering further advice and activities"--
|Author||: Sarah Casey Benyahia,John White,Freddie Gaffney|
A2 Film Studies: The Essential Introduction gives students the confidence to tackle every part of the WJEC A2 Level Film Studies course. The authors, who have wide ranging experience as teachers, examiners and authors, introduce students step by step, to the skills involved in the study of film. The second edition has been re-designed and re-written to follow the new WJEC A2 syllabus for 2009 teaching onwards and is supported by a companion website at www.alevelfilmstudies.co.uk offering further advice and activities. There is a chapter for each exam topic including: The small scale research project The creative project Aspects of a national cinema - Bollywood; Iranian; Japanese; and Mexican International Film Styles - German and/or Soviet; Surrealism; Neo-Realism; and New Waves Specialist studies - Urban Stories; and Empowering Women Spectatorship topics - Early cinema before 1917; Documentary; Experimental and expanded film/video; and Popular film and emotional responses The single film critical study - every film covered Specifically designed to be user friendly, the second edition of A2 Film Studies: The Essential Introduction has a new text design to make the book easy to follow, includes more than sixty colour images and is packed with features such as: case studies relevant to the 2009 specification activities on films like All About My Mother, 10, Vertigo and City of God key terms example exam questions suggestions for further reading and website resources. Matched to the current WJEC specification, A2 Film Studies: The Essential Introduction covers everything students need to study as part of the course.
|Author||: Intellect Books|
|Editor||: Intellect Books|
Increasingly, academic communities transcend national boundaries. “Collaboration between researchers across space is clearly increasing, as well as being increasingly sought after,” noted the online magazine Inside Higher Ed in a recent article about research in the social sciences and humanities. Even for those scholars who don't work directly with international colleagues, staying up-to-date and relevant requires keeping up with international currents of thought in one's field. But when one's colleagues span the globe, it's not always easy to keep track of who's who—or what kind of research they're conducting. That's where Intellect's new series comes in. A set of worldwide guides to leading academics—and their work—across the arts and humanities, Who's Who in Research features comprehensive profiles of scholars in the areas of cultural studies, film studies, media studies, performing arts, and visual arts. Who's Who in Research: Film Studies includes concise yet detailed listings include each academic's name, institution, biography, and current research interests, as well as bibliographic information and a list of articles published in Intellect journals. The volumes in the Who's Who in Research series will be updated each year, providing the most current information on the foremost thinkers in academia and making them an invaluable resource for scholars, hiring committees, academic libraries, and would-be collaborators across the arts and humanities.
|Author||: Glyn Davis,Kay Dickinson,Lisa Patti,Amy Villarejo|
Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age. Glyn Davis, Kay Dickinson, Lisa Patti and Amy Villarejo’s approach encourages readers to think about film holistically by looking beyond the textual analysis of key films. In contrast, it engages with other vital areas, such as financing, labour, marketing, distribution, exhibition, preservation, and politics, reflecting contemporary aspects of cinema production and consumption worldwide. Key features of the book include: clear definitions of the key terms at the foundation of film studies coverage of the work of key thinkers, explained in their social and historical context a broad range of relevant case studies that reflect the book’s approach to global cinema, from Italian "white telephone" films to Mexican wrestling films innovative and flexible exercises to help readers enhance their understanding of the histories, theories, and examples introduced in each chapter an extensive Interlude introducing readers to formal analysis through the careful explication and application of key terms a detailed discussion of strategies for writing about cinema Films Studies: A Global Introduction will appeal to students studying film today and aspiring to work in the industry, as well as those eager to understand the world of images and screens in which we all live.
|Author||: Luke Hockley|
The Routledge International Handbook of Jungian Film Studies weaves together the various strands of Jungian film theory, revealing a coherent theoretical position underpinning this exciting recent area of research, while also exploring and suggesting new directions for further study. The book maps the current state of debates within Jungian orientated film studies and sets them within a more expansive academic landscape. Taken as a whole, the collection shows how different Jungian approaches can inform and interact with a broad range of disciplines, including literature, digital media studies, clinical debates and concerns. The book also explores the life of film outside cinema - what is sometimes termed ‘post-cinema’ - offering a series of articles exploring Jungian approaches to cinema and social media, computer games, mobile screens, and on-line communities. The Routledge International Handbook of Jungian Film Studies represents an essential resource for students and researchers interested in Jungian approaches to film. It will also appeal to those interested in film theory more widely, and in the application of Jung’s ideas to contemporary and popular culture.
|Author||: Boukary Sawadogo|
African Film Studies: An Introduction is an accessible and authoritative textbook on African cinema as a field of study. The book provides a succinct and comprehensive study of the history, aesthetics, and theory of sub-Saharan African cinematic productions that is grounded in the field of film studies instead of textual interpretations from other disciplines. Bringing African cinema out of the margins into the discipline of mainstream film studies and showcasing the diverse cinematic expressions of the continent, the book covers: Overview of African cinema(s): Questions our assumptions about the continent’s cinematic productions and defines the characteristics of African cinema across linguistic, geographic, and filmic divides. History of African and African-American cinema: Spans the history of film in Africa from colonial import and ‘appropriation of the gaze’ to the quest for individuality. It also establishes parallels in the historical development of black African cinema and African-American cinema. Aesthetics: Introduces new research on previously unexplored aesthetic dimensions such as cinematography, animation, and film music. Theoretical Approaches: Addresses a number of theoretical approaches and critical frameworks developed by scholars in the study of African cinema All chapters include case studies, suggestions for further reading, and screening lists to deepen the reader’s knowledge with no prior knowledge of African cinema required. Students, teachers, and general film enthusiasts would all benefit from this accessible and engaging book.
|Author||: Sarah Casey Benyahia,Claire Mortimer|
Doing Film Studies examines what it really means to study film, encouraging the reader to question the dominant theories as well as understanding the key approaches to cinema. This book provides an overview of the construction of film studies - including its history and evolution - and examines the application of theories to film texts. Important questions discussed include: Why does film studies need a canon? What is the relationship between authorship and genre theory? What is screen theory? How do we read a film text? Why is the concept of the spectator important to film? How is film involved in national identity? What is meant by a ‘film industry’? Aimed at students in their final year of secondary education or beginning their degrees, Doing Film Studies equips the reader with the tools needed in approaching the study of film.