Authors: Robert Stam (Editor), Toby Miller
ISBN-13: 9780631206545, ISBN-10: 063120654X
Format: Paperback
Publisher: Wiley, John & Sons, Incorporated
Date Published: February 2000
Edition: 1st Edition
Robert Stam is Professor in the Cinema Studies Department at New York University. His many books include Film Theory: An Introduction (Blackwell Publishers, 1999), Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (1997), Unthinking Eurocentrism: Multiculturalism and the Media with Ella Shohat (1994), which won the Katherine Singer Kovocs 'Best Film Book Award'; and Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (1992).
Rather than look at film theory in terms of schools and allegiances, the book investigates questions including: What is the cinema? What is the cinematic apparatus? How do spectators differ in their desires? What is realism? Is realism desirable? What does the spectator want? This anthology offers a collection of provocative and influential writings of film theory from the 1960s and 1970s, and presents new directions from the last two decades. An introductory essay summarizes developments in film theory from the beginning through the 1980s, while introductions to specific sections debate those issues.
Robert Stam is a Professor in the Cinema Studies Department at New York University. His many books include Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (1997), Unthinking Eurocentrism: Multiculturalism and the Media with Ella Shohat (1994), which won the Katherine Singer Kovocs 'Best Film Book Award'; and Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (1992).
Toby Miller is a professor in the Cinema Studies Department at New York University. He is the author of a wide range of work in cultural studies, including two recent books Technologies of Truth (1998) and (with Alec McHoul) Popular Culture and Everyday Life (1998). He is also co-editor of the journal Social Text.
Acknowledgments | ||
Introduction | ||
Pt. I | The Author | |
Introduction | 1 | |
1 | Dennis Potter and the Question of the Television Author | 7 |
2 | To Desire Differently: Feminism and the French Cinema | 16 |
3 | The Unauthorized Auteur Today | 20 |
Pt. II | Film Language/Specificity | |
Introduction | 31 | |
4 | The Specificity of Media in the Arts | 39 |
5 | For a Semio-Pragmatics of Film | 54 |
6 | The Scene of the Screen: Envisioning Cinematic and Electronic "Presence" | 67 |
Pt. III | The Image and Technology | 85 |
Introduction | ||
7 | Necessities and Constraints: A Pattern of Technological Change | 102 |
8 | Projections of Sound on Image | 111 |
9 | Modes of Production: The Televisual Apparatus | 125 |
Pt. IV | Text and Intertext | |
Introduction | 145 | |
10 | Questions of Genre | 157 |
11 | A Semantic/Syntactic Approach to Film Genre | 179 |
12 | The "Force-Field" of Melodrama | 191 |
13 | Film Bodies: Gender, Genre, and Excess | 207 |
Pt. V | The Question of Realism | |
Introduction | 223 | |
14 | The Cinema of Attraction: Early Film, Its Spectator, and the Avant-Garde | 229 |
15 | Black American Cinema: The New Realism | 236 |
Pt. VI | Alternative Aesthetics | |
Introduction | 257 | |
16 | Towards a Third Cinema | 265 |
17 | For an Imperfect Cinema | 287 |
18 | Towards a Critical Theory of Third World Films | 298 |
19 | Rethinking Women's Cinema: Aesthetics and Feminist Theory | 317 |
Pt. VII | The Historical Spectator/Audience | |
Introduction | 337 | |
20 | Cowboys and Indians: Perceptions of Western Films Among American Indians and Anglos | 345 |
21 | Television News and Its Spectator | 361 |
22 | Addressing the Spectator of a "Third World" National Cinema: The Bombay "Social" Film of the 1940s and 1950s | 381 |
Pt. VIII | Apparatus Theory | |
Introduction | 403 | |
23 | The Imaginary Signifier | 408 |
24 | The Orthopsychic Subject: Film Theory and the Reception of Lacan | 437 |
25 | Feminism, Film Theory, and the Bachelor Machines | 456 |
Pt. IX | The Nature of the Gaze | |
Introduction | 475 | |
26 | Visual Pleasure and Narrative Cinema | 483 |
27 | Film and the Masquerade: Theorizing the Female Spectator | 495 |
28 | The Oppositional Gaze: Black Female Spectators | 510 |
29 | Looking Awry | 524 |
Pt. X | Class and the Culture Industries | |
Introduction | 539 | |
30 | Constituents of a Theory of the Media | 552 |
31 | Ideology, Economy and the British Cinema | 565 |
32 | Mass Culture and the Feminine: The "Place" of Television in Film Studies | 577 |
Pt. XI | Stars and Performance | |
Introduction | 595 | |
33 | Heavenly Bodies: Film Stars and Society | 603 |
34 | The She-Man: Postmodern Bi-Sexed Performance in Film and Video | 618 |
35 | Roseanne: Unruly Woman as Domestic Goddess | 634 |
36 | Marlon Brando in On the Waterfront | 644 |
Pt. XII | Permutations of Difference | |
Introduction | 661 | |
37 | Gender and Culture of Empire: Toward a Feminist Ethnography of the Cinema | 669 |
38 | Fantasies of the Master Race: Categories of Stereotyping of American Indians in Film | 697 |
39 | Cultural Identity and Cinematic Representation | 704 |
40 | White Privilege and Looking Relations: Race and Gender in Feminist Film Theory | 715 |
41 | White | 733 |
Pt. XIII | The Politics of Postmodernism | |
Introduction | 753 | |
42 | Television and Postmodernism | 758 |
43 | Critical and Textual Hypermasculinity | 774 |
44 | "In My Weekend-Only World...": Reconsidering Fandom | 791 |
Select Bibliography | 800 | |
Index | 831 |