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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... dominant areas of film studies research since the 1990s—classical and contemporary Hollywood movies. Serious study of Hollywood has galvanized around three trends: (1) the aesthetic; (2) the interpretive; and (3) the industrial-economic ...
... realized space), Thomas Elsaesser goes beyond the cinema to investigate one of the dominant sites of the Web 2.0 social networks—YouTube. He asks what “spatial stories” do these social networks tell, “once a user decides to.
... dominant institutions and subject positions created within white, Western, heteronormative discourses.” Film scholars not persuaded by psychoanalytic or Marxist film theory but equally dissatisfied with the scientism of cognitive film ...
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