Oxford Handbook of Film Theory
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portes grátis
Oxford Handbook of Film Theory
Stevens, Kyle
Oxford University Press Inc
11/2022
712
Dura
Inglês
9780190873929
15 a 20 dias
Descrição não disponível.
Introduction: The Very Thought of Theory
Kyle Stevens
Section I: Meta-theory
Chapter 1
A Machine for Killing Time
Tom Gunning
Chapter 2
Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic
Daniel Morgan
Chapter 3
Moral Philosophy and the Moving Image
Brian Price
Chapter 4
Film|Video|Essay
Domietta Torlasco
Chapter 5
The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory
Malcolm Turvey
Chapter 6
In Defense of Psychoanalytic Film Theory
Damon R. Young
Section II: Film Theory's Project of Emancipation
Chapter 7
Film Theory as Ideology Critique (After Trump)
Nico Baumbach
Chapter 8
Buddhism and Film Theory: Beyond a Legacy
Victor Fan
Chapter 9
Feminist Film Theory on the Brink of Laughter
Maggie Hennefeld
Chapter 10
Theory for the Masses; or, Toward a Vernacular Criticism
Noah Isenberg
Chapter 11
"The Fold of Old Wounds": Daughters of the Dust, Eve's Bayou, and Mississippi Damned as Cinematic Black Feminist Theory
Kara Keeling
Section III: Apparatus and Perception
Chapter 12
Lesbian Photographers: Affect and Cinematic Self-Discovery
Marta Figlerowicz
Chapter 13
Notes on Some Forms of Repetition
Homay King
Chapter 14
Empiricism and Film Theory: On the Moviola's Political Ontology
Davide Panagia
Chapter 15
Film Theory and Machine Vision
Antonio Somaini
Chapter 16
Headphones, Cinematic Listening, and the Frame of the Skull
Kyle Stevens
Section IV: Audiovisuality
Chapter 17
The Audio-Visual Non-relation and the Digital Break
Luka Arsenjuk
Chapter 18
The composer of musique concrete wields a camera
Michel Chion
Translated by Claudia Gorbman
Chapter 19
The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting
Usha Iyer
Chapter 20
Documentary Listening Habits: From Voice to Audibility
Pooja Rangan
Chapter 21
Audiovisual Rhythm and its Spectator: Moonlight as Example
Rick Warner
Section V: How Close is Close Reading?
Chapter 22
Contesting the White Gaze: Black Film and Post-Cinematic Spectatorship
Caetlin Benson-Allott
Chapter 23
In Other Words: Film and the Spider Web of Description
Timothy Corrigan
Chapter 24
Women's Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano
David Gerstner
Chapter 25
Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis
Adrian Martin
Chapter 26
On Fire: When Fashion Meets Cinema
Marketa Uhlirova
Chapter 27
When and Where Does a Film Begin? Putting Films in Context
Amy Villarejo
Section VI: The Turn to Experience
Chapter 28
The Affective Turnabout's Fair Play
Sarah Keller
Chapter 29
An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema
Julian Hanich
Chapter 30
Those Who Have: The Impersonality of Film Theory
John David Rhodes
Chapter 31
On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect
Scott Richmond
Chapter 32
Cinematic Experience: From Moving Images to Virtual Reality
Robert Sinnerbrink
Kyle Stevens
Section I: Meta-theory
Chapter 1
A Machine for Killing Time
Tom Gunning
Chapter 2
Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic
Daniel Morgan
Chapter 3
Moral Philosophy and the Moving Image
Brian Price
Chapter 4
Film|Video|Essay
Domietta Torlasco
Chapter 5
The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory
Malcolm Turvey
Chapter 6
In Defense of Psychoanalytic Film Theory
Damon R. Young
Section II: Film Theory's Project of Emancipation
Chapter 7
Film Theory as Ideology Critique (After Trump)
Nico Baumbach
Chapter 8
Buddhism and Film Theory: Beyond a Legacy
Victor Fan
Chapter 9
Feminist Film Theory on the Brink of Laughter
Maggie Hennefeld
Chapter 10
Theory for the Masses; or, Toward a Vernacular Criticism
Noah Isenberg
Chapter 11
"The Fold of Old Wounds": Daughters of the Dust, Eve's Bayou, and Mississippi Damned as Cinematic Black Feminist Theory
Kara Keeling
Section III: Apparatus and Perception
Chapter 12
Lesbian Photographers: Affect and Cinematic Self-Discovery
Marta Figlerowicz
Chapter 13
Notes on Some Forms of Repetition
Homay King
Chapter 14
Empiricism and Film Theory: On the Moviola's Political Ontology
Davide Panagia
Chapter 15
Film Theory and Machine Vision
Antonio Somaini
Chapter 16
Headphones, Cinematic Listening, and the Frame of the Skull
Kyle Stevens
Section IV: Audiovisuality
Chapter 17
The Audio-Visual Non-relation and the Digital Break
Luka Arsenjuk
Chapter 18
The composer of musique concrete wields a camera
Michel Chion
Translated by Claudia Gorbman
Chapter 19
The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting
Usha Iyer
Chapter 20
Documentary Listening Habits: From Voice to Audibility
Pooja Rangan
Chapter 21
Audiovisual Rhythm and its Spectator: Moonlight as Example
Rick Warner
Section V: How Close is Close Reading?
Chapter 22
Contesting the White Gaze: Black Film and Post-Cinematic Spectatorship
Caetlin Benson-Allott
Chapter 23
In Other Words: Film and the Spider Web of Description
Timothy Corrigan
Chapter 24
Women's Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano
David Gerstner
Chapter 25
Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis
Adrian Martin
Chapter 26
On Fire: When Fashion Meets Cinema
Marketa Uhlirova
Chapter 27
When and Where Does a Film Begin? Putting Films in Context
Amy Villarejo
Section VI: The Turn to Experience
Chapter 28
The Affective Turnabout's Fair Play
Sarah Keller
Chapter 29
An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema
Julian Hanich
Chapter 30
Those Who Have: The Impersonality of Film Theory
John David Rhodes
Chapter 31
On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect
Scott Richmond
Chapter 32
Cinematic Experience: From Moving Images to Virtual Reality
Robert Sinnerbrink
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Introduction: The Very Thought of Theory
Kyle Stevens
Section I: Meta-theory
Chapter 1
A Machine for Killing Time
Tom Gunning
Chapter 2
Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic
Daniel Morgan
Chapter 3
Moral Philosophy and the Moving Image
Brian Price
Chapter 4
Film|Video|Essay
Domietta Torlasco
Chapter 5
The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory
Malcolm Turvey
Chapter 6
In Defense of Psychoanalytic Film Theory
Damon R. Young
Section II: Film Theory's Project of Emancipation
Chapter 7
Film Theory as Ideology Critique (After Trump)
Nico Baumbach
Chapter 8
Buddhism and Film Theory: Beyond a Legacy
Victor Fan
Chapter 9
Feminist Film Theory on the Brink of Laughter
Maggie Hennefeld
Chapter 10
Theory for the Masses; or, Toward a Vernacular Criticism
Noah Isenberg
Chapter 11
"The Fold of Old Wounds": Daughters of the Dust, Eve's Bayou, and Mississippi Damned as Cinematic Black Feminist Theory
Kara Keeling
Section III: Apparatus and Perception
Chapter 12
Lesbian Photographers: Affect and Cinematic Self-Discovery
Marta Figlerowicz
Chapter 13
Notes on Some Forms of Repetition
Homay King
Chapter 14
Empiricism and Film Theory: On the Moviola's Political Ontology
Davide Panagia
Chapter 15
Film Theory and Machine Vision
Antonio Somaini
Chapter 16
Headphones, Cinematic Listening, and the Frame of the Skull
Kyle Stevens
Section IV: Audiovisuality
Chapter 17
The Audio-Visual Non-relation and the Digital Break
Luka Arsenjuk
Chapter 18
The composer of musique concrete wields a camera
Michel Chion
Translated by Claudia Gorbman
Chapter 19
The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting
Usha Iyer
Chapter 20
Documentary Listening Habits: From Voice to Audibility
Pooja Rangan
Chapter 21
Audiovisual Rhythm and its Spectator: Moonlight as Example
Rick Warner
Section V: How Close is Close Reading?
Chapter 22
Contesting the White Gaze: Black Film and Post-Cinematic Spectatorship
Caetlin Benson-Allott
Chapter 23
In Other Words: Film and the Spider Web of Description
Timothy Corrigan
Chapter 24
Women's Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano
David Gerstner
Chapter 25
Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis
Adrian Martin
Chapter 26
On Fire: When Fashion Meets Cinema
Marketa Uhlirova
Chapter 27
When and Where Does a Film Begin? Putting Films in Context
Amy Villarejo
Section VI: The Turn to Experience
Chapter 28
The Affective Turnabout's Fair Play
Sarah Keller
Chapter 29
An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema
Julian Hanich
Chapter 30
Those Who Have: The Impersonality of Film Theory
John David Rhodes
Chapter 31
On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect
Scott Richmond
Chapter 32
Cinematic Experience: From Moving Images to Virtual Reality
Robert Sinnerbrink
Kyle Stevens
Section I: Meta-theory
Chapter 1
A Machine for Killing Time
Tom Gunning
Chapter 2
Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic
Daniel Morgan
Chapter 3
Moral Philosophy and the Moving Image
Brian Price
Chapter 4
Film|Video|Essay
Domietta Torlasco
Chapter 5
The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory
Malcolm Turvey
Chapter 6
In Defense of Psychoanalytic Film Theory
Damon R. Young
Section II: Film Theory's Project of Emancipation
Chapter 7
Film Theory as Ideology Critique (After Trump)
Nico Baumbach
Chapter 8
Buddhism and Film Theory: Beyond a Legacy
Victor Fan
Chapter 9
Feminist Film Theory on the Brink of Laughter
Maggie Hennefeld
Chapter 10
Theory for the Masses; or, Toward a Vernacular Criticism
Noah Isenberg
Chapter 11
"The Fold of Old Wounds": Daughters of the Dust, Eve's Bayou, and Mississippi Damned as Cinematic Black Feminist Theory
Kara Keeling
Section III: Apparatus and Perception
Chapter 12
Lesbian Photographers: Affect and Cinematic Self-Discovery
Marta Figlerowicz
Chapter 13
Notes on Some Forms of Repetition
Homay King
Chapter 14
Empiricism and Film Theory: On the Moviola's Political Ontology
Davide Panagia
Chapter 15
Film Theory and Machine Vision
Antonio Somaini
Chapter 16
Headphones, Cinematic Listening, and the Frame of the Skull
Kyle Stevens
Section IV: Audiovisuality
Chapter 17
The Audio-Visual Non-relation and the Digital Break
Luka Arsenjuk
Chapter 18
The composer of musique concrete wields a camera
Michel Chion
Translated by Claudia Gorbman
Chapter 19
The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting
Usha Iyer
Chapter 20
Documentary Listening Habits: From Voice to Audibility
Pooja Rangan
Chapter 21
Audiovisual Rhythm and its Spectator: Moonlight as Example
Rick Warner
Section V: How Close is Close Reading?
Chapter 22
Contesting the White Gaze: Black Film and Post-Cinematic Spectatorship
Caetlin Benson-Allott
Chapter 23
In Other Words: Film and the Spider Web of Description
Timothy Corrigan
Chapter 24
Women's Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano
David Gerstner
Chapter 25
Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis
Adrian Martin
Chapter 26
On Fire: When Fashion Meets Cinema
Marketa Uhlirova
Chapter 27
When and Where Does a Film Begin? Putting Films in Context
Amy Villarejo
Section VI: The Turn to Experience
Chapter 28
The Affective Turnabout's Fair Play
Sarah Keller
Chapter 29
An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema
Julian Hanich
Chapter 30
Those Who Have: The Impersonality of Film Theory
John David Rhodes
Chapter 31
On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect
Scott Richmond
Chapter 32
Cinematic Experience: From Moving Images to Virtual Reality
Robert Sinnerbrink
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
