Narrative, Apparatus, Ideology

A Film Theory Reader
Erscheinungsjahr 1986
ISBN: 978-0-231-05881-0
Verlag: Columbia University Press

Buch, Englisch, 549 Seiten, Print PDF, Format (B × H): 153 mm x 235 mm, Gewicht: 785 g

Smartly selected and organized, the essays in this anthology introduce several central issues in film theory, namely, the classical narrative text, oppositional and avant-garde cinema, subject positioning, the cinematic apparatus, and ideology. Written by seminal scholars, including Christian Metz, Jean-Louis Baudry, Stephen Heath, Peter Wollen, Laura Mulvey, and Noël Burch, as well as such leading thinkers as Roland Barthes, Julia Kristeva, and Jean-François Lyotard, these works utilize a number of approaches in their analyses, particularly structuralism, poststructuralism, psychoanalysis, feminism, neoformalism, Marxism, and semiotics. Divided into sections, the anthology features introductions to each group of essays outlining the major assumptions, ideas, and arguments of the articles and situating them within the history of film theory, narrative analysis, and social and cultural theory.

Autoren/Hrsg.

Rosen, Philip

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse

Inhaltsverzeichnis

Part 1. Structures of Filmic Narrative Introduction: The Saussurian Impulse and Cinema Semiotics1. Classical Hollywood Cinema: Narrational Principles and Procedures, by David Bordwell2. Problems of Denotation in the Fiction Film, by Christian Metz3. Segmenting/Analyzing, by Raymond Bellour4. The Obvious and the Code, by Raymond Bellour5. The Spectator-in-the-Text: The Rhetoric of Stagecoach, by Nick Browne6. Godard and Counter-Cinema: Vent d' Est, by Peter Wollen7. The Concept of Cinematic Excess, by Kristin Thompson8. Uncoded Images in the Heterogeneous Text, by Deborah LindermanPart 2: Subject, Narrative, Cinema Introduction: Text and Subject9. Diderot, Brecht, Eisenstein, by Roland Barthes10. Theory and Film: Principles of Realism and Pleasure, by Colin MacCabe11. Visual Pleasure and Narrative Cinema, by Laura Mulvey12. Voyeurism, The Look, and Dwoskin, by Paul Willemen13. Suture (excerpts), by Kaja Silverman14. Ellipsis on Dread and the Specular Seduction, by Julia Kristeva15. The Imaginary Signifier (excerpts), by Christian MetzPart 3: Apparatus Introduction16. Ideological Effects of the Basic Cinematographic Apparatus, by Jean-Louis Baudry17. The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema, by Jean-Louis Baudry18. The Silences of the Voice, by Pascal Bonitzer19. The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane20. Acinema, by Jean François Lyotard21. Through the Looking-Glass, by Teresa de LauretisPart 4: Textuality as Ideology Introduction22. Narrative Space, by Stephen Heath23. Technique and Ideology: Camera, Perspective, Depth of Field (Parts 3 and 4), by Jean-Louis Comolli24. John Ford's Young Mr. Lincoln, by Editors of Cahiers du cinéma25. Primitivism and the Avant-Gardes: A Dialectical Approach, by Noël Burch26. Film Body: An Implantation of Perversions, by Linda Williams27. Primary Identification and the Historical Subject: Fassbinder and Germany, by Thomas Elsaesser

Über Autor(innen)

Philip Rosen is professor of modern culture and media at Brown University and works in the fields of film theory and history, with special attention to the question of culture and ideology and to historiography and temporality in the contexts of national cinemas. He is the author of Change Mummified: Cinema, Historicity, Theory and coeditor of Cinema Histories, Cinema Practices.