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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... example, readily admits his hard core historical studies of Shakespeare are inflected with theory. In film studies, theory has become part of the routine activity of studying the cinema. Gill Branston notes that “theory, always ...
... of film semiotics. If he wants to attack structuralism or semiotics, why not examine its neo-Kantian 3 assumptions, for example. That is, why not present some alternatives to Screen Theory. But option 3 has been misused ...
... example. The concept of “suture,” developed (by Jean-Pierre Oudart, Stephen Heath, and Daniel Dayan) during the early phases of Lacanian-inspired psychoanalytic film theory, was key to subject positioning theory, but was quickly tossed ...
... example, “New Hollywood” and “Conglomerate Hollywood”). In the present volume he investigates “the combined impact of conglomeration, globalization, and digitization” on contemporary Hollywood and American independent filmmaking. He ...
... examples from War of the Worlds (2005), Panic Room (2002), and Fight Club (1999). Douglas Brown and Tanya Krzywinska use the concepts of transmediality, convergence, and adaptation to examine the increasingly important synergy that has ...