Film Theory and Contemporary Hollywood MoviesWarren Buckland Routledge, 2009 M06 3 - 368 páginas Film theory no longer gets top billing or plays a starring role in film studies today, as critics proclaim that theory is dead and we are living in a post-theory moment. While theory may be out of the limelight, it remains an essential key to understanding the full complexity of cinema, one that should not be so easily discounted or discarded. In this volume, contributors explore recent popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework. The Hollywood films discussed cover a wide range from 300 to Fifty First Dates, from Brokeback Mountain to Lord of the Rings, from Spider-Man 3 to Fahrenheit 9/11, from Saw to Raiders of the Lost Ark, and much more. Individual essays consider such topics as the rules that govern new blockbuster franchises, the ‘posthumanist realism’ of digital cinema, video game adaptations, increasingly restricted stylistic norms, the spatial stories of social networks like YouTube, the mainstreaming of queer culture, and the cognitive paradox behind enjoyable viewing of traumatic events onscreen. With its cast of international film scholars, Film Theory and Contemporary Hollywood Movies demonstrates the remarkable contributions theory can offer to film studies and moviegoers alike. |
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... audiences versus fantasy audiences martin barker 14. “what is there really in the world?” forms of theory, evidence and truth in fahrenheit 9/11: a philosophical and intuitionist realist approach ian aitken contributors index 192 214 ...
... “show that cognitive film theory can help identify the affective appeals that Titanic offers and relate those to the audience pleasures in its viewing.” That viewing experience offers a paradox, in that the film represents traumatic events,
... audiences for a film that they regard as 'fantasy'?” He explores several ways of thinking about fictional fantasy, and asks how each “embed within its concepts and theories definite ways of conceiving 'the audience', and through these ...
... audiences. The bottom tier includes the truly independent producer-distributors, literally hundreds of companies that supply over half of all theatrical releases, usually budgeted in the $5 million to $10 million range (often far less) ...
... audiences. Thus the conglomerates' indie divisions are subject to their own brand of tensions between art and commerce, and are valued for the prestige and critical cache they provide the parent company, as well as the revenues. These ...
Contenido
feminism philosophy and queer theory | |
rethinking affects narration fantasy and realism | |
contributors | |
index | |