Introduction to Film Studies is a comprehensive textbook for students of cinema. This completely revised and updated fifth edition guides students through the key issues and concepts in film studies, traces the historical development of film and introduces some of the worlds key national cinemas. A range of theories and theorists are presented from Formalism to Feminism, from ...
Introduction to Film Studies is a comprehensive textbook for students of cinema. This completely revised and updated fifth edition guides students through the key issues and concepts in film studies, traces the historical development of film and introduces some of the worlds key national cinemas. A range of theories and theorists are presented from Formalism to Feminism, from Eisenstein to Deleuze. Each chapter is written by a subject specialist, including two new authors for the fifth edition. A wide range of films are analysed and discussed. It is lavishly illustrated with 150 film stills and production shots, in full colour throughout. Reviewed widely by teachers in the field and with a foreword by Bill Nichols, it will be essential reading for any introductory student of film and media studies or the visual arts worldwide. Key features of the fifth edition are: updated coverage of a wide range of concepts, theories and issues in film studies in-depth discussion of the contemporary film industry and technological changes new chapters on Film and Technology and Latin American Cinema new case studies on films such as District 9, Grizzly Man, Amores Perros, Avatar, Made in Dagenham and many others marginal key terms, notes, cross-referencing suggestions for further reading, further viewing and a comprehensive glossary and bibliography a new, improved companion website including popular case studies and chapters from previous editions (including chapters on German Cinema and The French New Wave), links to supporting sites, clips, questions and useful resources. Individual chapters include: The Industrial Contexts of Film Production * Film and Technology * Getting to the Bigger * Picture Film Form and Narrative * Spectator, Audience and Response * Cinematic authorship and the film auteur * Stardom and Hollywood Cinema * Genre, Theory and Hollywood Cinema The Documentary Form * The Language of Animation * Gender and Film * Lesbian and Gay Cinema * Spectacle, Stereotypes and Films of the African Diaspora * British Cinema * Indian Cinema * Latin American Cinema * Soviet Montage Cinema of the 1920s Contributors: Linda Craig, Lalitha Gopalan, Terri Francis, Chris Jones, Mark Joyce, Searle Kochberg, Lawrence Napper, Jill Nelmes, Patrick Phillips, Suzanne Speidel, Paul Ward, Paul Watson, Paul Wells and William Wittington
作者简介
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Jill Nelmes is a senior lecturer at the University of East London. Her research interests include gender and film and screenwriting. She recently spent two years studying screenwriting at UCLA and working in the film industry in Los Angeles.
目录
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Foreward, Bill Nicholls Introduction to the 5th Edition, Jill Nelmes
PART I : CINEMA AS INSTITUTION: TECHNOLOGY, INDUSTRY AND AUDIENCE
1. The Industrial contexts of film production, Searle Kochberg
2. Film and Technology, Bill Whittington
PART II: APPROACHES TO STUDYING FILM - FORM AND TEXT
3. Getting to the Bigger Picture, Patrick Phillips
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Foreward, Bill Nicholls Introduction to the 5th Edition, Jill Nelmes
PART I : CINEMA AS INSTITUTION: TECHNOLOGY, INDUSTRY AND AUDIENCE
1. The Industrial contexts of film production, Searle Kochberg
2. Film and Technology, Bill Whittington
PART II: APPROACHES TO STUDYING FILM - FORM AND TEXT
3. Getting to the Bigger Picture, Patrick Phillips
4. Film Form and Narrative, Susan Spiedel
5. Spectator, Audience and Response, Patrick Phillips
6. Approaches to Cinematic Authorship, Paul Watson
7. Stardom and Hollywood Cinema, Paul Watson
PART III: STUDYNG GENRE
8. Genre theory and Hollywood Cinema, Paul Watson
9. The Documentary Form, Paul Ward
10. The Language of Animation, Paul Wells
PART IV: CINEMA, IDENTITY AND THE POLITICS OF REPRESENTATION
11. Gender and Film, Jill Nelmes
12. Lesbian and Gay Cinema, Chris Jones
13. Spectacle, Stereotypes and Films of the African Diaspora, Terri Francis
PART V : CINEMA, NATION AND NATIONAL IDENTITY
14. British Cinema, Lawrence Napper
15. Indian Cinema, Lalitha Gopalan
16. Latin American Cinema, Linda Craig
17. The Soviet Montage Cinema of the 1920’s, Mark Joyce
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4.2.3 文化的佯谬：作者，无处不在的作者
声称因某种未知的原因作者已死，或者说作者问题压根儿与理论无涉，这种断言不仅与我们的直觉相抵触，更重要的是，与当代传媒文化的现状不符。比如说，很可能在蒂莫西·科里根（Timothy Corrigan）那里就说不过去，在他看来，符号学、结构主义、心理分析和观众研究这些更显缜密的学说，非但远没有取代作者论，事实上，电影作者这个幽灵，今天“要比历史上任何一个时期都更活跃”。随着融合性的媒介平台的迅猛增长和相应的媒体文本的增多，作者的“能见度”似乎从未像现在这样被凸显出来。以录像带到DVD的更替为例，在观看原片之后，为了听到导演评论音轨而把DVD影碟找来再看一遍，这已不是什么稀奇事。或许还应当看看有关制作过程的纪录片，或导演本人以录像形式做的拍摄日志，读一读剧本和DVD光盘上的制作注解，甚或通过超链接以获取各个网站上更广泛的资讯。事实也的确如此，观看两碟豪华套装的《世界大战》（War of the Worlds，2005），效益上要远远超过观看影片本身。
尽管如今的DVD 套碟中充溢的重要资讯花样繁多，但帕克和帕克（Parker and Parker，2005）和亚历克斯·考克斯（Alex Cox，2001）仍把“导演评论”作为突出的手段，用来分析单个导演，为在文化意义上进行作者身份研究的相关方式得以长盛不衰寻找依据。前者认为，此类评述不但能说明“特定意图”（即导演从一个场景到另一个场景中的局部的、特定的决策过程，以及像编剧和摄影之类潜在作者的“受抑制的”和“剩余的”意图），而且还包括“意图的受限”、偶发事件、权宜之计、机缘巧合、运气好坏，所有这些状况都有可能影响到影片最终的风格和效果（帕克和帕克，2005）。后者也承认，当今在DVD 上观看和深入理解影片的观影方式改变“能够提供某种对认识电影很有帮助的东西，甚至... (查看原文)
从历史上看，男性身体一直被视为标准和规范，而女性身体则代表离经叛道，偏离正宗，只能被视为较次等的、能力较差的副本。但是，细细观察，很多满身鬼气的人物，总和阴柔紧紧联系在一起：吸血鬼那猩红色的嘴唇，狼人比照女人行经有规律地嚎月，这都是转变过程中的重生。更晚近些的还有影片《沉默的羔羊》（The Silence of the Lambs，1991）中的水牛比尔，梦寐以求的就是用死亡女人的皮肤覆盖全身时实现蜕变。
芭芭拉·克里德的文章《阴暗的欲望》（Dark Desires，1993）认为恐怖片有两种类型：头一种探讨男人渴望被阉割以便成为女人的欲望；第二类，将男人的阉割欲望当作男性的死亡愿望（death wish）的一部分。克里德仔细研究了像《我唾弃你的坟墓》（I Spit on Your Grave，1978）和《明火执仗的复仇》（Naked Vengeance，1984）这样的强奸复仇影片，在这些影片中，强奸者都被受害者阉割或杀死。更晚近的对应也有《异种》（Species，1997），其中的女魔在与受害者发生了性关系之后将他杀害。
看来，观众在看电影时会从性别角度认同的那个角色，要远比穆尔维和麦茨（1983）概括的复杂得多。卡罗尔·克洛弗研究了男魔的秉性，以及观众对女受害人的认同，指出不论男女观者，凝视都是围绕性受虐构建的。恐怖片中的受害者多是女性，而观众的主体是男性。恐怖片采用女人身形不光是考虑男性观看的目的，更是为了让他们感受和认同，这提示出，男性观者能很轻易地认同不同的性别。他们由此承担起性受虐观者（masochistic spectator）的角色，认同男女主人公的痛苦和恐惧。克洛弗争辩说，关于男性的性受虐狂、关于对女性的认同，都存在某种程度的缄默，即便可以假设说女性是认同电影中的男子气概的。
本节标题“伤、痛、苦——我爱”（hurt，agony，... (查看原文)
For the contents of book, the only word i could pick up is perfect. You can know the basic film theory well, but also some famous film theory scholars' views. BILL NICHOLS as one of top scholars in world writting this book tries to let the film theory much ...
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刘康康
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1 有用 みちる 2016-01-17 18:31:55
Paul Ward's writing on documentary is largely based on Bill Nichols. I like the taxonomy, but the case studies seems a bit banal
0 有用 Ἴκαρος 2022-06-22 11:48:15
英国电影系入门的课本，写的太简单了适合完全零基础。做的比较好的是把术语讲的很清楚，奇怪的是半本都在讲好莱坞？
0 有用 Ailet 2024-06-18 02:25:36 福建
太简单没有看完
0 有用 reads 2019-08-28 15:58:46
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