| Description |
1 online resource (229 pages) |
| Series |
Longman Critical Readers |
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Longman critical readers.
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| Contents |
Cover; Title; Copyright; Contents; General Editors' Preface; Acknowledgements; Introduction; Classic film theory; Semiotics; Politics and ideology; Politics and subjectivity; Politics and gender; PART ONE: VISION AND PHANTASY; 1 Fetishism; 2 The Mirror Stage; PART TWO: IDEOLOGY AND SUBJECTIVITY; 3 Cinema/Ideology/Criticism (1); 4 from Realism and the Cinema: Notes on Some Brechtian Theses; 5 from Narrative Space; 6 from Class and Allegory in Contemporary Mass Culture: Dog Day Afternoon as a Political Film; PART THREE: GENDER AND THE GAZE; 7 Visual Pleasure and Narrative Cinema |
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8 Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by King Vidor's Duel in the Sun (1946)9 Double Indemnity; 10 from Fantasia; 11 Subjectivity and Desire: An(other) Way of Looking; 12 From Casablanca to Pretty Woman: the Politics of Romance; Glossary; Further Reading; Index; List of Films |
| Summary |
During the twentieth century, the medium of film has developed as a means of understanding the complexity of modern life. Since 1968, film theory has concentrated not so much on theme or content but on the deeper question of how the medium works on its viewer. Film theory has been profoundly influenced by the writings of such modern thinkers as Saussure, Freud, Lacan, Anthusser, Derrida and Kristeva. It combines modes of textual analysis relating to linguistics and semiology, a Marxist reading of ideology, and theories of subjectivity, the spectator and gender redefined by psychoanalysis.> |
| Notes |
Print version record |
| Subject |
Motion pictures -- Philosophy
|
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PERFORMING ARTS -- Reference.
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Motion pictures -- Philosophy
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| Form |
Electronic book
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| ISBN |
9781317895671 |
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1317895673 |
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