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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... argues, is a success story. It has been absorbed into the fabric of the humanities to such an extent that it has apparently disappeared. But what has happened is that scholars no longer feel the need (for the most part) to wear their ...
... argue that localized, middle-level (or piecemeal) theories, based on scientific thinking (study of the unknown in ... argues, downplays ethical evaluation, plus the study of sense, meaning, and internal investigation. “What we need after ...
... argues, one can make “grandiose pronouncements” with an apparent “lack of rigor” (quoted in Stow, 195), or can invent terms without due consideration for precision or accuracy. But such a misuse of theory is no different than driving ...
... argue that, because film is a popular medium, it should be discussed only on a popular level. One only needs to read David Weddle's misguided attack on film theory in the Los Angeles Times (2003) to witness this retreat to a populist ...
... argued that theory (in all its various, heterogeneous guises) is still prevalent in film studies, even though it no longer has a starring role, or top billing, and may have changed its identity through an alignment with science or ...