| Description |
xix, 426 pages ; 26 cm |
| Series |
Cambridge studies in film |
|
Cambridge studies in film.
|
| Contents |
Foreword / David Bordwell -- I. Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography -- II. The Specificity of Media in the Arts -- III. Concerning Uniqueness Claims for Photographic and Cinematographic Representation -- IV. Defining the Moving Image -- V. The Power of Movies -- VI. Toward a Theory of Film Suspense -- VII. As the Dial Turns: Notes on Soap Operas -- VIII. Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies -- IX. Notes on Movie Music -- X. Notes on the Sight Gag -- XI. Avant-Garde Film and Film Theory -- XII. Causation, the Ampliation of Movement and Avant-Garde Film -- XIII. Language and Cinema: Preliminary Notes for a Theory of Verbal Images -- XIV. A Note on Film Metaphor -- XV. From Real to Reel: Entangled in Nonfiction Film -- XVI. Reply to Carol Brownson and Jack C. Wolf -- XVII. The Image of Women in Film: A Defense of a Paradigm -- XVIII. Film, Rhetoric, and Ideology |
|
XIX. Film/Mind Analogies: The Case of Hugo Munsterberg -- XX. Hans Richter's Struggle for Film -- XXI. A Brief Comment on Frampton's Notion of Metahistory -- XXII. Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland -- XXIII. Cracks in the Acoustic Mirror -- XXIV. A Reply to Health -- XXV. Replies to Hammett and Allen -- XXVI. Film History and Film Theory: An Outline for an Institutional Theory of Film -- XXVII. Art, Film and Ideology: A Response to Blaine Allan -- XXVIII. Toward a Theory of Film Editing |
| Analysis |
Films (Motion pictures) |
| Notes |
Foreword / David Bordwell -- I. Medium Specificity Arguments and the Self- Consciously Invented Arts: Film, Video, and Photography -- II. The Specificity of Media in the Arts -- III. Concerning Uniqueness Claims for Photographic and Cinematographic Representation -- IV. Defining the Moving Image -- V. The Power of Movies -- VI. Toward a Theory of Film Suspense -- VII. As the Dial Turns: Notes on Soap Operas -- VIII. Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies -- IX. Notes on Movie Music -- X. Notes on the Sight Gag -- XI. Avant-Garde Film and Film Theory -- XII. Causation, the Ampliation of Movement and Avant-Garde Film -- XIII. Language and Cinema: Preliminary Notes for a Theory of Verbal Images -- XIV. A Note on Film Metaphor -- XV. From Real to Reel: Entangled in Nonfiction Film -- XVI. Reply to Carol Brownson and Jack C. Wolf -- XVII. The Image of Women in Film: A Defense of a Paradigm -- XVIII. Film, Rhetoric, and Ideology |
|
XIX. Film/Mind Analogies: The Case of Hugo Munsterberg -- XX. Hans Richter's Struggle for Film -- XXI. A Brief Comment on Frampton's Notion of Metahistory -- XXII. Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland -- XXIII. Cracks in the Acoustic Mirror -- XXIV. A Reply to Health -- XXV. Replies to Hammett and Allen -- XXVI. Film History and Film Theory: An Outline for an Institutional Theory of Film -- XXVII. Art, Film and Ideology: A Response to Blaine Allan -- XXVIII. Toward a Theory of Film Editing |
| Bibliography |
Includes bibliographical references and index |
| Notes |
English |
| Subject |
Motion pictures -- Philosophy.
|
|
Television -- Philosophy.
|
|
Television broadcasting -- Philosophy.
|
| Author |
Carroll, Noèel, Author
|
|
American Council of Learned Societies.
|
| LC no. |
95021558 |
| ISBN |
0521460492 hardback |
|
0521466075 paperback |
|
