| Description |
xv, 320 pages ; 23 cm |
| Contents |
Preface -- I. Film Language -- [On Editing] -- Beyond the Shot [The Cinematographic Principle and the Ideogram] -- The Dramaturgy of Film Form [The Dialectical Approach to Film Form] -- The Evolution of the Language of Cinema -- Toward a Non-Bourgeois Camera Style -- Some Points in the Semiotics of the Cinema -- Problems of Denotation in the Fiction Film -- Semiotics and the Cinema: Metz and Wollen -- The Discourse of Pictures: Iconicity and Film Studies -- The Tutor-Code of Classical Cinema -- Against "The System of the Suture" -- [On Suture] -- The Spectator-in-the-Text: The Rhetoric of Stagecoach -- II. Film and Reality -- Basic Concepts -- The Cabinet of Dr. Caligari -- The Ontology of the Photographic Image -- The Myth of Total Cinema -- De Sica: Metteur-en-scene -- The Complete Film -- Cinematography: The Creative Use of Reality -- From Metaphors on Vision -- Colonialism, Racism, and Representation: An Introduction -- Recent Developments in Feminist Criticism -- III. The Film Medium: Image and Sound -- Style and Medium in the Motion Pictures -- The Establishment of Physical Existence -- The Close-up -- The Face of Man -- Film and Reality -- The Making of a Film -- The Specificity Thesis -- Projection -- Photograph and Screen -- Audience, Actor, and Star -- Types; Cycles as Genres -- Ideas of Origin -- Ideological Effects of the Basic Cinematographic Apparatus -- Aural Objects -- Statement on Sound -- The Voice in the Cinema: The Articulation of Body and Space -- Technology and Aesthetics of Film Sound -- Broadcast TV as Sound and Image -- IV. Film Narrative and the Other Arts -- The Means of the Photoplay -- Theater and Cinema -- Acting: Stage vs. Screen -- Dickens, Griffith and Ourselves [Dickens, Griffith and Film Today] -- What Novels Can Do That Films Can't (and Vice Versa) -- Adaptation -- Narrative Discourse and the Narrator System -- The Cinematic Narrator -- The Concept of Cinematic Excess -- Godard and Counter Cinema: Vent d'Est -- V. The Film Artist -- Notes on the Auteur Theory in 1962 -- The Auteur Theory -- The Face of Garbo -- Stars as a Cinematic Phenomenon -- The Role of the Star in Film History [Joan Crawford] -- Female Stars of the 1940s -- The Mae West Nobody Knows -- Valentino and Female Spectatorship -- "The Whole Equation of Pictures" -- VI. Film Genres -- Genre: The Conventions of Connection -- A Semantic/Syntactic Approach to Film Genre -- Film Genre and the Genre Film -- Movie Chronicle: The Westerner -- Ideology, Genre, Auteur -- The Mummy's Pool -- The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory -- Film Bodies: Gender, Genre, and Excess -- The Art Cinema as a Mode of Film Practice -- VII. Film: Psychology, Society, and Ideology -- The Work of Art in the Age of Mechanical Reproduction -- Cinema/Ideology/Criticism -- The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema -- Jean-Louis Baudry and "The Apparatus" -- Preface -- Identification, Mirror -- The Passion for Perceiving -- Disavowal, Fetishism -- An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator -- Visual Pleasure and Narrative Cinema -- Black Spectatorship: Problems of Identification and Resistance -- Index |
| Notes |
Includes index |
| Bibliography |
Includes bibliographical references (pages 297-309) and index |
| Subject |
Journalism -- Australia.
|
|
Journalism.
|
| Author |
Davison, Lucy.
|
| ISBN |
0195540247 (paperback) |
|
