Watching movies every night at home with his cats, film scholar and cat lover Daisuke Miyao noticed how frequently cats turned up on screen. They made brief appearances (think of Mafia boss Marlon Brando gently stroking a cat in a scene from The Godfather); their looks provided inspiration to film creators (Avatar); they even held major roles (The Lion King). In Cinema Is a Cat, Miyao uses the fascinating relationship between cats and cinema to offer a uniquely appealing introduction to film studies.
Cats are representational subjects in the nine films explored in this book, and each chapter juxtaposes a feline characteristic—their love of dark places, their “star” quality—with discussion of the theories and histories of cinema. The opening chapters explore three basic elements of the language of cinema: framing, lighting, and editing. Subsequent chapters examine the contexts in which films are made, exhibited, and viewed. Miyao covers the major theoretical and methodological concepts of film studies—auteurism, realism, genre, feminist film theory, stardom, national cinema, and modernity theory—exploring fundamental questions. Who is the author of a film? How does a film connect to reality? What connections does one film have to other films? Who is represented in a film and how? How is a film viewed differently by people of different cultural and social backgrounds? How is a film located in history? His focus on the innate qualities of cats—acting like prima donnas, born of mixed blood, devoted to the chase—offers a memorable and appealing approach to the study of film.
How to read audio-visual materials aesthetically and culturally is of limitless value in a world where we are constantly surrounded by moving images—television, video, YouTube, streaming, GPS, and virtual reality. Cinema Is a Cat offers an accessible, user-friendly approach that will deepen viewers’ appreciation of movies, from Hollywood classics like Breakfast at Tiffany’s and To Catch a Thief, to Japanese period dramas like Samurai Cat. The book will be attractive to a wide audience of students and scholars, movie devotees, and cat lovers.
0 有用 千砂 2023-09-20 15:28:18 法国
3.5,虽然表面上章节结构伪装成学院范式的introduction,但宫尾大辅真正的意图是例示一种莲实重彦式的电影表象批评写作,较之波德维尔-汤普森笨重的形式主义批评更有创意,且又可以复制——通过在不同案例之中抽离出一个既是动力学的,又出现在视觉的表征-范式(例如本书之中的猫)切入中间层次的分析,作为周蕾“phantomlike”或德勒兹“生成”的替代品。Introduction恰好形成了对于理论... 3.5,虽然表面上章节结构伪装成学院范式的introduction,但宫尾大辅真正的意图是例示一种莲实重彦式的电影表象批评写作,较之波德维尔-汤普森笨重的形式主义批评更有创意,且又可以复制——通过在不同案例之中抽离出一个既是动力学的,又出现在视觉的表征-范式(例如本书之中的猫)切入中间层次的分析,作为周蕾“phantomlike”或德勒兹“生成”的替代品。Introduction恰好形成了对于理论分析的最大程度的限制,在某种程度上,对于宫尾而言,繁杂和系统性的“宏大理论”被宣告死亡。表象批评无需发明任何名词,仅需要一个电影专业学生的正常知识背景就可以写作富有insight的文章。但和莲实相比,宫尾仍然不够表象,仍然需要借助文化研究背景,以及面对西方学界,对于“日本”这一文化特殊性的执念。 (展开)
1 有用 里相玉 2023-10-10 20:29:54 浙江
前三章很有趣,蒂凡尼的早餐-小空间、豹族-阴影,捉贼记-追逐,之后逐渐跑偏,没看过的电影+浮光掠影的阐述,点名批评第六章,狮子王和森林大帝的对比讲了什么呢?像是直接从拉马尔的书里拿出来的论述。我想应该再涉及一些伦理层面的内容,猫的猫性,人和猫的关系,这是表象批评难以触及的,没大读过莲实重彦我也不好说。