The film studies reader:
Saved in:
| Format: | Thesis Book |
|---|---|
| Language: | English |
| Published: |
London [u.a.]
Arnold [u.a.]
2000
|
| Edition: | 1. publ. |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XII, 368 S. |
| ISBN: | 0340692782 0340692790 |
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| 245 | 1 | 0 | |a The film studies reader |c ed. by Joanne Hollows ... |
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Record in the Search Index
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| adam_text | Titel: The film studies reader
Autor: Hollows, Joanne
Jahr: 2000
CONTENTS
Preface ix
Acknowledgements xi
Section One: Political Economy and Mass Culture Theory
Editors Introduction 1
1 Theodor W. Adorno and Max Horkheimer, The Culture
Industry: Enlightenment as Mass Deception 7
From: Dialectic of Enlightenment, pp. 120-67. London: Verso (1979)
2 Dwight Macdonald, A Theory of Mass Culture 12
From: Mass Culture: The Popular Arts in America edited by Bernard
Rosenberg and David Manning White, pp. 59-73. New York: Macmillan
Publishing Co. Inc. (1964)
3 Nicholas Garnham, Concepts of Culture: Public Policy
and the Cultural Industries 19
From: Cultural Studies 1(1), 23-37 (1987)
4 Eileen R. Meehan, Holy Commodity Fetish, Batman! :
The Political Economy of a Commercial Intertext 23
From: The Many Lives of Batman edited by Roberta Pearson and
William Uricchio, pp. 47-65. New York: Routledge (1991)
5 Janet Wasko, Hooray for Hollywood: Moving into the
Twenty-First Century 33
From: Hollywood in the Information Age, pp. 241-54. Cambridge:
Polity Press (1994)
Section Two: Film and Authorship
Editors Introduction 45
6 Thoro/dDickinson, The Filmwright and the Audience 53
From: Sight and Sound 19(1), 20-5 (1950)
7 Howard Koch, A Playwright Looks at the Filmwright 55
From: Sight and Sound 19(5), 210-14 (1950)
8 Frangois Truffaut, A Certain Tendency of the French Cinema 58
From: Cahiers du Cinema in English 1,30-40 (1996)
9 Ian Cameron, Films, Directors and Critics 63
From: Movie 2,4-7 (1962)
vi Contents
10 Andrew Sarris, Notes on the Auteur Theory in 1962 68
From: Film Culture 27,1-8 (1962/63)
11 Peter Wollen, The Auteur Theory 71
From: Signs and Meanings in the Cinema, 3rd edn, pp. 74-115. London:
Martin Seeker and Warburg Limited (1972)
12 Robin Wood, Hawks de-Wollenized 78
From: Personal Views, pp. 193-206. London: Gordon Fraser (1976)
Section Three: Genre Criticism
Editors Introduction 83
13 Jim Kitses, Authorship and Genre: Notes on the Western 89
From: Authorship and Genre, pp. 7-27. London: Thames and Hudson
Limited (1969)
14 Andrew Tudor, Critical Method ... Genre 95
From: Theories of Film, pp. 116-52. London: Martin Seeker and Warburg
Limited (1974)
15 Steve Neale, Extract from Genre 98
From: Genre, pp. 49-55. London: British Film Institute (1980)
16 Christine Geraghty, The Woman s Film 102
From: Utopian Possibilities in Women and Soap Opera, pp. 107-30.
Cambridge: Polity Press (1991)
17 James Naremore, American Film Noir: The History of an Idea 106
From: Film Quarterly 49(2), 12-28 (1995/96)
Section Four: Star Studies
Editors Introduction 115
18 Richard Dyer, Stars as Images 121
From: Stars, pp. 68-72. London: British Film Institute (1979)
19 Richard Dyer, Stars and Character 124
From: Stars, pp. 142-9. London: British Film Institute (1979)
20 Richard Dyer, Living Stars 128
From: Stars, pp. 1-18. London: British Film Institute (1979)
21 Maria LaPlace, Stars and the Star System:
The Case of Bette Davis 134
From: Producing and Consuming the Woman s Film in Home is Where the
Heart Is edited by Christine Gledhill, pp. 138-66. London: British Film
Institute (1987)
22 Steven Cohan, Cary Grant in the Fifties: Indiscretions
of the Bachelor s Masquerade 139
From: Screen 33(4), 394-412 (1992)
23 Jackie Stacey, Feminine Fascinations: Forms of Identification
in Star-Audience Relations 147
From: Stardom edited by Christine Gledhill, pp. 141-63. London:
Routledge(1991)
Contents vii
Section Five: The Historical Poetics of Cinema
Editors Introduction 155
24 Tom Gunning, The Cinema of Attractions: Early Film,
Its Spectator and the Avant-Garde 161
From: Wide Angle 3,56-62 (1986)
25 RichardMaltby, The Classical Hollywood Cinema 166
From: Hollywood Cinema: An Introduction, pp. 6-17. Oxford: Blackwell
Publishers (1995)
26 Peter Kramer, Post-Classical Hollywood 174
From: The Oxford Guide to Film Studies edited by John Hill and Pamela
Church, pp. 289-309. Oxford: Oxford University Press (1998)
27 Janet Staiger, Taboos and Totems: Cultural Meanings of
The Silence of the Lambs 181
From: Film Theory Goes to the Movies edited by Jim Collins, Hilary Radner
and Ava Preacher Collins, pp. 142-54. New York: Routledge (1993)
Section Six: Screen Theory I: From Marxism to Psychoanalysis
Editors Introduction 189
28 Jean-Luc Comolli and Paul Narboni, Cinema/Ideology/
Criticism 197
From: Screen 12,27-36 (1971)
29 Colin MacCabe, Realism and the Cinema: Notes on Some
Brechtian Theses 201
From: Screen 15(2), 7-27 (1974)
30 John Hill, Narrative and Realism 206
From: Sex, Class and Realism, pp. 53-66. London: British Film Institute (1986)
31 Christian Metz, The Imaginary Signifier 213
From: Screen 16(2), 14-76 (1975)
32 Daniel Dayan, The Tutor-Code of Classical Cinema 219
From: Film Quarterly 28, 22-31 (1974)
Section Seven: Screen Theory II: Psychoanalysis, Feminism
and Film
Editors Introduction 227
33 Pam Cook and Claire Johnston, The Place of Woman
in the Cinema of Raoul Walsh 233
From: Raoul Walsh edited by Phil Hardy, pp. 93-10. Edinburgh:
Edinburgh Film Festival (1974)
34 Laura Mulvey, Visual Pleasure and Narrative Cinema 238
From: Screen 16(3), 6-18 (1975)
35 Mary Ann Doane, Film and the Masquerade:
Theorizing the Female Spectator 248
From: FemmesFatales: Feminism, Film Theory, Psychoanalysis,
pp. 17-32. London: Routledge (1991)
viii Contents
36 Carol J. Clover, Her Body, Himself 256
From: Men, Women and Chainsaws: Gender in the Modern Horror Movie,
pp. 21-64. London: British Film Institute (1992)
Section Eight: Cultural Studies
Editors Introduction 265
37 lain Chambers, Gramsci Goes to Hollywood 271
From: Border Dialogues, pp. 40-5. London: Routledge (1990)
38 David Mor/ey, Texts, Readers, Subjects 274
From: Culture, Media, Language edited by Stuart Hall, Dorothy Hobson,
Andrew Lowe and Paul Willis, pp. 163-76. London: Hutchinson Co
(Publishers) Ltd
39 Marie Gillespie, Technology and Tradition: Audio-Visual
Culture among South Asian Families in West London 282
From: Cultural Studies 3(2), 226-39 (1989)
40 Charlotte Brunsdon, Post-Feminism and Shopping Films 289
From: Screen Tastes, pp. 81-102. London: Routledge (1997)
41 Barbara Klinger, Film History Terminable and Interminable:
Recovering the Past in Reception Studies 299
From: Screen 38(2), 107-28 (1997)
Section Nine: Theorizing Differences
Editors Introduction 309
42 Robert Stam and Louise Spence, Colonialism, Racism and
Representation : An Introduction 315
From: Screen 24(2), 2-20 (1983)
43 Jane Gaines, White Privilege and Looking Relations: Race and
Gender in Feminist Film Theory 322
From: Screen 29(4), 12-27 (1988)
44 Robyn Wiegman, Feminism, The Boyz and Other Matters
Regarding the Male 329
From: Screening the Male edited by Steven Cohan and Ina Rae Hark,
pp. 173-93. London: Routledge (1993)
45 Alexander Doty, There s Something Queer Here 337
From: Making Things Perfectly Queer: Interpreting Mass Culture, pp. 1-16.
Minneapolis: University of Minnesota Press (1993)
46 Tamsin Wilton, On Not Being Lady Macbeth: Some (Troubled)
Thoughts on Lesbian Spectatorship 347
From: Immortal, Invisible: Lesbians and the Moving Image edited by
Tamsin Wilton, pp. 143-62 London: Routledge (1995)
Index 357
|
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| discipline | Allgemeines |
| edition | 1. publ. |
| format | Thesis Book |
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