6th ed. - New York : Oxford University Press, 2004.
xviii, 937 p. : ill. ; 24 cm.
Includes bibliographical references and index.
Preface-- I. FILM LANGUAGE-- VSEVOLOD PUDOVKIN, from Film Technique -- [On Editing]-- SERGEI EISENSTEIN, from Film Form -- Beyond the Shot [The Cinematographic Principle and the Ideogram]-- The Dramaturgy of Film Form [The Dialectical Approach to Film Form]-- ANDRE BAZIN, from What Is Cinema? -- The Evolution of the Language of Cinema-- BRIAN HENDERSON-- Toward a Non-Bourgeois Camera Style-- CHRISTIAN METZ, from Film Language -- Some Points in the Semiotics of the Cinema-- Problems of Denotation in the Fiction Film-- STEPHEN PRINCE-- The Discourse of Pictures: Iconicity and Film Studies-- KAJA SILVERMAN, from The Subject of Semiotics -- [On Suture]-- NICK BROWNE-- The Spectator-in-the-Text: The Rhetoric of Stagecoach -- II. FILM AND REALITY-- SIEGFRIED KRACAUER, from Theory of Film -- Basic Concepts-- SIEGFRIED KRACAUER, from From Caligari to Hitler -- The Cabinet of Dr. Caligari -- ANDRE BAZIN, from What is Cinema? -- The Ontology of the Photographic Image-- The Myth of Total Cinema-- De Sica: Metteur-en-scene-- RUDOLF ARNHEIM, from Film as Art -- The Complete Film-- MAYA DEREN-- Cinematography: The Creative Use of Reality-- STAN BRAKHAGE-- From Metaphors on Vision -- JEAN-LOUIS BAUDRY-- The Apparatus: Metaphysical Approaches to the Impression of Reality in Cinema-- NOEL CARROLL-- From Mystifying Movies -- Jean-Louis Baudry and "The Apparatus"-- STEPHEN PRINCE-- True Lies: Perceptual Realism, Digital Images, and Film Theory-- GILLES DELEUZE-- From Cinema -- Preface to the English Edition-- The Origin of Crisis: Italian Neo-realism and the French New Wave-- Beyond the Movement-Image-- III. THE FILM MEDIUM: IMAGE AND SOUND-- ERWIN PANOFSKY-- Style and Medium in the Motion Pictures-- SIEGFRIED KRACAUER, from Theory of Film -- The Establishment of Physical Existence-- BELA BALASZ, FROM THEORY OF THE FILM -- The Close-up-- The Face of Man-- RUDOLF ARNHEIM, from Film as Art -- Film and Reality-- The Making of a Film-- NOEL CARROLL, from Philosophical Problems of Classical Film Theory -- The Specificity Thesis-- GERALD MAST, from Film/Cinema/Movie -- Projection-- STANLEY CAVELL, from The World Viewed -- Photograph and Screen-- Audience, Actor, and Star-- Types: Cycles as Genres-- Ideas of Origin-- JEAN-LOUIS BAUDRY-- Ideological Effects of the Basic Cinematographic Apparatus-- CHRISTIAN METZ-- Aural Objects-- SERGEI EISENSTEIN, VSEVELOD PUDOVKIN, AND GRIGORI ALEXANDROV-- Statement on Sound-- MARY ANN DOANE-- The Voice in the Cinema: The Articulation of Body and Space-- JOHN BELTON-- Technology and Aesthetics of Film Sound-- JOHN ELLIS, from Visible Fictions -- Broadcast TV as Sound and Image-- IV. FILM NARRATIVE AND OTHER ARTS-- HUGO MUNSTERBERG, from The Film: A Psychological Study -- The Means of the Photoplay-- ANDRE BAZIN, from What is Cinema? -- Theater and Cinema-- LEO BRAUDY, from The World in a Frame -- Acting: Stage vs. Screen-- SERGEI EISENSTEIN, from Dickens, Griffith and Ourselves -- Dickens, Griffith, and Film Today-- SEYMOUR CHATMAN-- What Novels Can Do That Films Can't (and Vice Versa)-- DUDLEY ANDREW, from Conceps in Film Theory -- Adaptation-- TOM GUNNING-- Narrative Discourse and the Narrator System-- KRISTIN THOMPSON-- The Concept of Cinematic Excess-- JEFFREY SCONCE-- 'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style-- PETER WOLLEN-- Godard and Counter Cinema: Vent d'Est -- JERROLD LEVINSON-- Film Music and Narrative Agency-- V. THE FILM ARTIST-- ANDREW SARRIS-- Notes on the Auteur Theory in 1962-- PETER WOLLEN, from Signs and Meaning in the Cinema -- The Auteur Theory-- RICHARD B. JEWELL-- How Howard Hanks Brought Baby Up: An Apologia for the Studio System-- ROLAND BARTHES-- The Face of Garbo-- JOHN ELLIS, from Visible Fictions -- Stars as Cinematic Phenomenon-- ROBERT C. ALLEN, from Film History: Theory and Practice -- The Role of the Star in Film History [Joan Crawford]-- MOLLY HASKELL, from From Reverence to Rape -- Female Stars of the 1940s-- MIRIAM HANSEN-- Pleasure, Ambivalence, Identification-- Valentino and Female Spectatorship-- THOMAS SCHATZ, from The Genius of the System -- Introduction-- VI. FILM GENRES-- LEO BRAUDY, from The World in a Frame -- Genre: The Conventions of Connection-- RICK ALTMAN-- A Semantic/Syntactic Approach to Film Genre-- Film Genre and the Genre Film-- ROBERT WARSHOW-- Movie Chronicle: The Westerner-- ROBIN WOOD-- Ideology, Genre, Auteur-- BRUCE KAWIN-- The Mummy's Pool-- LINDA WILLIAMS-- Film Bodies: Gender, Genre, and Excess-- CYNTHIA A. FREELAND-- Feminist Frameworks for Horror Films-- TANIA MODLESKI-- The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory-- DAVID BORDWELL-- The Art Cinema as a Mode of Film Practice-- VII. FILM: PSYCHOLOGY, SOCIETY, AND IDEOLOGY-- WALTER BENJAMIN-- The Work of Art in the Age of Mechanical Reproduction-- JEAN-LUC COMOLLI AND JEAN NARBONI-- Cinema/Ideology/Criticism-- CHRISTIAN METZ, from The Imaginary Signifier -- Identification, Mirror-- The Passion for Perceiving-- Fetishism, Disavowal-- TOM GUNNING-- An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator-- LAURA MULVEY-- Film and Visual Pleasure-- TANIA MODLESKI-- From The Women Who Knew Too Much: Hitchcock and Feminist Theory -- The Master's Dollhouse: Rear Window -- ROBERT STAM AND LOUISE SPENCE-- Colonialism, Racism, and Representation: An Introduction-- MANTHIA DIAWARA-- Black Spectatorship: Problems of Identification and Resistance-- JOHN BELTON-- Digital Cinema: A False Revolution-- ANNE FRIEDBERG-- The End of Cinema: Multi-Media and Technological Change-- Index.
(source: Nielsen Book Data)
Since publication of the first edition in 1974, Film Theory and Criticism has been the standard anthology of critical writing about film. The sixth edition continues to highlight both classic and cutting edge essays from more than a century of thought and writing, with contributors ranging from Sergei Eisenstein and Vsevolod Pudovkin to the latest scholars writing on the impact of digital technology on the film industry; recent considerations of issues such as the sociological, psychological and philosophical dimensions of film; and controversial areas such as gender and race. (source: Nielsen Book Data)