Film Theory: An Introduction Through the Senses
What is the relationship between cinema and spectator? That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theories – from the classical period to today – in this insightful, engaging book. Every kind of cinema (and film theory) imagines an ideal spectator, and then imagines a certain relationship between the mind and body of that spectator and the screen. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from 1945 to the present, from neo-realist and modernist theories to psychoanalytic, ‘apparatus’, phenomenological and cognitivist theories.
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Cinema as window and frame
Cinema as door screen and threshold
Cinema as mirror and face
Cinema as eye look and gaze
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acoustic aesthetic André Bazin apparatus theory Arnheim Balazs become Berkeley bodily body brain British Film Institute California Press Cambridge camera chapter Christian Metz cinematic experience classical cinema close-up cognitive Columbia University Press concept consciousness contemporary cultural David Bordwell diegesis diegetic digital cinema door Dudley Andrew early cinema effect Eisenstein embodied feminist ﬁgure Film Studies film theory filmic Fritz Lang function gaze genres Gilles Deleuze haptic Hollywood human identification imaginary Indiana University Press Lacan Lev Manovich London look metaphor Minnesota Press mirror mirror neurons mirror stage montage Movies moving image narration narrative object orig Oxford University Press paradigm perception perspective position psychoanalytic realism reality relation representation role Routledge Rudolf Arnheim scene screen sense Sergej shot skin space spatial spectator's theoretical Thomas Elsaesser trans University of California University Press 1988 visual Vivian Sobchack window and frame York