Concepts in film theory
A remarkable continuation of Dudley Andrew's classic, The Major Film Theories, this work focuses on the key concepts in film study: perception, representation, signification, narrative structure, adaptation, evaluation, identification, figuration, and interpretation. Beginning with a lucidintroductory chapter on the current state of film theory, Andrew goes on to build an overall view of film, presenting his own ideas on each concept, and giving a sense of the interdependence of these concepts. By providing lively explanations of theories that involve perceptual psychology andstructuralism, semiotics and psychoanalysis, hermeneutics and genre study, Andrew offers unique observations on these often obscure topics, allowing readers to acquire the background they need to enrich their understanding of film--and of art.
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The State of Film Theory
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adaptation aesthetic analysis artistic artworks aspects audience auteur Bazin Cahiers du cinema camera Christian Metz cinema classic codes complex concepts connotation construct context critique culture denotation discourse dream E. H. Gombrich Eisenstein essay event experience fiction field figures film study film theory filmic filmmakers force Freud function genre hermeneutics human ideology important instance interpretation Jean Mitry language Levi-Strauss linguistics literary literature logic meaning mechanism metaphor Metonymy Metz's Mitry Mitry's mode modern theory movement narration narrative narratology natural Nelson Goodman objects organization particular Paul Ricoeur perception production psyche psychic psychoanalysis psychological reader reading realism reality relation representation represented rhetorical Roland Barthes Roman Jakobson screen semioticians semiotics sense signifier specific spectator Stephen Heath stimuli stories structuralism structuralists style tation textual theorists tion Todorov tradition Tzvetan Todorov unconscious University Press values viewer visual