Introduction - James Donald Hooray for a Mickey Mouse Subject! PART ONE: MAPPING TRADITIONS North America - Dana Polan European Film Scholarship - Ian Aitken China - Stephanie Hemelryk Donald and Paola Voci Cinema, Politics and Scholarship Our Films, Their Films - Brian Shoesmith Some Speculations on Writing Indian Film History Film Research in Argentina - David Oubina Cinema Studies in Brazil - Ismail Xavier Y Tu Critica Tambien - Carlos A. Gutierrez The Development of Mexican Film Studies at Home and Abroad Australia - Noel King, Constantine Verevis and Deane Williams Postcolonial and Transnational Perspectives - Bhaskar Sarkar PART TWO: DISCIPLINARY DIALOGUES Film and Philosophy - Murray Smith Difficult Relations - Hamish Ford Film Studies and Continental European Philosophy Cinema and Art History - Angela Dalle Vacche Film Has Two Eyes Film and History - Vanessa R. Schwartz Mass Media, Anthropology and Ethnography - Faye Ginsburg Psychoanalysis and Cinema - Patrick Fuery The Political Economy of Film - Tom O'Regan TV's Next Season? - Lynn Spigel Film and Cultural Studies - Graeme Turner PART THREE: PARADIGMS IN PERSPECTIVE The Hollywood Industry Paradigm - Ruth Vasey Formalist Tendencies in Film Studies - Warren Buckland The Persistence of the Avant-Garde - Michael O'Pray Film and (as) Modernity - Julian Murphet Cinema/Ideology/Society - Jane Gaines The Political Expectations of Film Theory 'We Do Not Die Twice' - George Kouvaros Feminist Perspectives in Film Studies - Alison Butler Realism and Cinema Authors and Auteurs - John Caughie The Uses of Theory Where Sound Is - Philip Brophy Locating the Absent Aural in Film Theory The Question of Genre in Cult Film and Fandom - Matt Hills Between Contract and Discourse Film Audiences - Jostein Gripsrud and Erlend Lavik Re-Mapping Bollywood Cinema - Vijay Mishra Film in the Context of Digital Media - Scott McQuire.
(source: Nielsen Book Data)
Written by a team of veteran scholars and exciting emerging talents, the "Handbook of Film Studies" maps the field internationally, drawing out regional differences in the way that systematic intellectual reflection on cinema and film has been translated into an academic discipline. It examines the conversations between Film Studies and its contributory disciplines that not only defined a new field of discourse but also modified existing scholarly traditions. It reflects on the field's dominant paradigms and debates and evaluates their continuing salience. Finally, it looks forward optimistically to the future of the medium of film, the institution of cinema and the discipline of Film Studies at a time when the very existence of film and cinema are being called into question by new technological, industrial and aesthetic developments. (source: Nielsen Book Data)