The SAGE Handbook of Film Studies (Google eBook)

Front Cover
James Donald, Michael Renov
SAGE, Apr 16, 2008 - Language Arts & Disciplines - 536 pages
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Written by a team of veteran scholars and exciting emerging talents, The SAGE 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.
  

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Contents

Hooray for a Mickey Mouse Subject
1
SECTION I Mapping Traditions
7
1North America
9
2 European Film Scholarship
25
Cinema Politics and Scholarship
54
Some Speculations on Writing Indian Film History
74
5 Film Research in Argentina
87
6 Cinema Studies in Brazil
95
17 TVs Next Season?
262
18 Film and Cultural Studies
270
SECTION III Paradigms in Perspective
285
19 The Hollywood Industry Paradigm
287
20 Formalist Tendencies in Film Studies
312
21 The Persistence of the AvantGarde
328
22 Film and as Modernity
343
The Political Expectations of Film Theory
361

The Development of Mexican Film Studies at Home and Abroad
101
8 Australia
112
9 Postcolonial and Transnational Perspectives
123
SECTION II Disciplinary Dialogues
145
10 Film and Philosophy
147
Film Studies and Continental European Philosophy
164
Film has Two Eyes
180
13 Film and History
199
14 Mass Media Anthropology and Ethnography
216
15 Psychoanalysis and Cinema
226
16 The Political Economy of Film
244
Realism and Cinema
376
25 Feminist Perspectives in Film Studies
391
The Uses of Theory
408
Locating the Absent Aural in Film Theory
424
Between Contract and Discourse
436
29 Film Audiences
454
A Postcolonial CaseStudy
471
31Film in the Context of Digital Media
493
Index
511
Copyright

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About the author (2008)

Michael Renov, Professor of Critical Studies and Vice Dean for Academic Affairs, is the author of Hollywood's Wartime Woman: Representation and Ideology and The Subject of Documentary, editor of Theorizing Documentary, and co-editor of Resolutions: Contemporary Video Practices, Collecting Visible Evidence, The SAGE Handbook of Film Studies and Cinema's Alchemist: The Films of Peter Forgacs. In 1993, Renov co-founded Visible Evidence, a series of international and highly interdisciplinary documentary studies conferences that have, to date, been held on four continents. He is one of three general editors for the Visible Evidence book series at the University of Minnesota Press, which has published 25 volumes on various aspects of nonfiction media since 1997. In 2005, he co-programmed the 51st annual Robert Flaherty Seminar, a week-long gathering of documentary filmmakers, curators and educators, creating 20 screening programs and filmmaker dialogues on the theme "Cinema and History." In addition to curating documentary programs around the world, he has served as a jury member at documentary festivals including Sundance, Silverdocs, the Buenos Aires International Independent Film Festival, Brazil's It's All True and the International Environmental Festival of Film and Video, also in Brazil. He has taught graduate seminars at the University of Stockholm and Tel Aviv University and has led documentary workshops in Jordan for the Royal Film Commission and in Cyprus. Renov's teaching and research interests include documentary theory, autobiography in film and video, video art and activism and representations of the Holocaust.

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