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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... 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.
Warren Buckland. cognitive paradox behind enjoyable viewing of traumatic events onscreen. With its cast of international ... Cognitive Semiotics of Film. He also edits the New Review of Film and Television Studies. Previously published in ...
... cognitive and analytic approaches to film, and renew the need for a philosophy of the humanities.1 Francesco Casetti entertains three reasons for film theory's apparent demise: “there is no more theory because there is no more cinema ...
... cognitive, neurobiological, and so on. Academic film studies has created a specialized theoretical vocabulary around the cinema in order to talk about the structures underlying films. This vocabulary represents the film theorist's ...
... not persuaded by psychoanalytic or Marxist film theory but equally dissatisfied with the scientism of cognitive film theory and analytic philosophy have in recent years turned to the French philosopher Gilles Deleuze and his.