| Preface |
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vii | |
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Part 1 Experiencing Film: From Perception to Reception |
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1 | (110) |
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5 | (4) |
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7 | (2) |
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9 | (8) |
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From the Imaginary Signifier |
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17 | (17) |
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18 | (2) |
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20 | (8) |
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28 | (6) |
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Ideological Effects of the Basic Cinematographic Apparatus |
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34 | (11) |
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Film, Reality, and Illusion |
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45 | (17) |
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From the Address of the Eye |
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62 | (7) |
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Phenomenology and Film Experience |
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63 | (6) |
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The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde |
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69 | (8) |
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77 | (11) |
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Paradoxes of Spectatorship |
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88 | (23) |
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Part 2 The Sights, Sounds, and Signs of Cinema |
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111 | (114) |
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114 | (11) |
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125 | (10) |
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126 | (1) |
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127 | (3) |
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130 | (5) |
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The Principles of Montage |
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135 | (9) |
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Cinematography: The Creative Use of Reality |
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144 | (12) |
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156 | (9) |
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158 | (7) |
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165 | (20) |
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Classical Hollywood Practice |
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166 | (19) |
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From Cinema II: The Time-Image |
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185 | (17) |
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186 | (2) |
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Recapitulation of Images and Signs |
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188 | (6) |
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194 | (8) |
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From Acting in the Cinema |
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202 | (11) |
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203 | (10) |
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From Understanding Animation |
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213 | (12) |
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Notes Towards a Theory of Animation |
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214 | (11) |
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Part 3 Modernism and Realism: Debates in Classical Film Theory |
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225 | (116) |
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The Work of Art in the Age of Its Technological Reproducibility (Second Version) |
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229 | (23) |
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Photogenie and the Imponderable |
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252 | (5) |
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Film Directors: A Revolution |
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257 | (5) |
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The Dramaturgy of Film Form |
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262 | (17) |
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279 | (10) |
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280 | (9) |
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289 | (20) |
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291 | (8) |
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299 | (10) |
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309 | (16) |
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The Ontology of the Photographic Image |
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310 | (4) |
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The Evolution of the Language of Cinema |
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314 | (11) |
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The Mass Production of the Senses: Classical Cinema as Vernacular Modernism |
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325 | (16) |
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Part 4 Auteurism: Directors, Stars, and Beyond |
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341 | (100) |
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345 | (5) |
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The Birth of a New Avant-Garde: La Camera-Stylo |
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350 | (4) |
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The Auteur Theory Revisited |
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354 | (7) |
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From Signs and Meaning in the Cinema |
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361 | (14) |
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363 | (12) |
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From the Women Who Knew Too Much |
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375 | (11) |
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Hitchcock, Feminism, and the Patriarchal Unconscious |
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377 | (9) |
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Lesbian Looks: Dorothy Arzner and Female Authorship |
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386 | (15) |
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401 | (15) |
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From a Cinema without Walls |
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416 | (13) |
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The Commerce of Auteurism |
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418 | (11) |
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Studio Authorship, Corporate Art |
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429 | (12) |
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Part 5 Genre: Classifying Stories |
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441 | (90) |
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446 | (7) |
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The Origins of Tragedy, Comedy and Epic |
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447 | (6) |
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453 | (12) |
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Film Genre and the Genre Film |
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454 | (11) |
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465 | (13) |
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Cinema/Ideology/Criticism |
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478 | (9) |
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487 | (9) |
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A Semantic/Syntactic/Pragmatic Approach to Genre |
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488 | (8) |
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Tales of Sound and Fury: Observations on the Family Melodrama |
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496 | (15) |
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From Men, Women, and Chain Saws |
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511 | (20) |
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513 | (18) |
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Part 6 Narrative: Telling Stories |
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531 | (114) |
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Structural Analysis of Narrative |
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534 | (7) |
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Beyond Fidelity: The Dialogics of Adaptation |
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541 | (17) |
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558 | (15) |
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The Art Cinema as a Mode of Film Practice |
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559 | (14) |
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573 | (21) |
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575 | (19) |
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Black American Cinema: The New Realism |
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594 | (16) |
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Narrative Form in American Network Television |
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610 | (9) |
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619 | (26) |
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Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling |
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620 | (25) |
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Part 7 Alternative Modes: Experimental and Documentary Film |
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645 | (60) |
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The Salon of 1859: The Modern Public and Photography |
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648 | (3) |
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651 | (6) |
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First Principles of Documentary |
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657 | (10) |
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In Consideration of Aesthetics |
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667 | (5) |
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672 | (16) |
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673 | (15) |
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Dogme 95 Manifesto and Vow of Chastity |
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688 | (3) |
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Documentary Is/Not a Name |
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691 | (14) |
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Part 8 Sexuality and Gender in Cinema: From Psychoanalysis to Performativity |
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705 | (84) |
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708 | (5) |
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Visual Pleasure and Narrative Cinema |
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713 | (12) |
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"Something Else Besides a Mother": Stella Dallas and the Maternal Melodrama |
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725 | (14) |
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Dark and Lovely Too: Black Gay Men in Independent Film |
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739 | (15) |
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Dumb Movies for Dumb People: Masculinity, the Body, and the Voice in Contemporary Action Cinema |
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754 | (13) |
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767 | (7) |
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Porn Studies: Proliferating Pornographies On/Scene |
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774 | (15) |
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Part 9 Race and Ethnicity in Cinema: From Stereotypes to Self-Representation |
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789 | (116) |
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From Black Skin, White Masks |
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794 | (6) |
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795 | (5) |
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From Unthinking Eurocentrism |
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800 | (22) |
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Stereotype, Realism, and the Struggle over Representation |
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801 | (21) |
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822 | (18) |
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840 | (19) |
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King Kong and the Monster in Ethnographic Cinema |
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841 | (18) |
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Are All Latins from Manhattan? Hollywood, Ethnography and Cultural Colonialism |
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859 | (12) |
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Reading the Signs, Empowering the Eye: Daughters of the Dust and the Black Independent Cinema Movement |
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871 | (16) |
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Screen Memories and Entangled Technologies: Resignifying Indigenous Lives |
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887 | (18) |
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Part 10 National and Transnational Film Histories |
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905 | (106) |
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From Imagined Communities |
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909 | (6) |
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915 | (9) |
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Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World |
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924 | (15) |
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Reconceptualizing National Cinema/s |
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939 | (19) |
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From the Cinematic ImagiNation |
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958 | (19) |
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Nation and Its Discontents |
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959 | (18) |
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977 | (22) |
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Situating Accented Cinema |
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978 | (21) |
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999 | (12) |
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Part 11 Screen Cultures: Current Debates |
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1011 | (116) |
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From Dialectic of Enlightenment |
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1015 | (16) |
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The Culture Industry: Enlightenment as Mass Deception |
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1016 | (15) |
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Postmodernism and Consumer Society |
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1031 | (10) |
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1041 | (17) |
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The Social Optics of Race and Networked Interfaces in The Matrix Trilogy and Minority Report |
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1042 | (16) |
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1058 | (12) |
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1070 | (13) |
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Origins of the First-Person Shooter |
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1072 | (11) |
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1083 | (10) |
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1084 | (9) |
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"Take Responsibility for Yourself": Judge Judy and the Neoliberal Citizen |
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1093 | (16) |
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1109 | (18) |
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| Appendix A Alternative Tables of Contents |
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1127 | (10) |
| Appendix B Film Pairings for Studying Film Theory |
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1137 | (8) |
| Permissions Acknowledgments |
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1145 | (6) |
| Index |
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1151 | |
