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. |
Dentro del libro
... emotions, spirit/flesh, universal/particular, language/image, telling/showing); are uncritical, complacent and dogmatic in their reliance on theoretical doctrines (when they should be relying on data); live under the misguided ...
... emotions); and make unrealistic claims. We shall consider just a few of these criticisms. To criticize film theory for its abstract, reductive concepts is to ignore its historical positioning. The initial stage of any theoretical ...
... addresses unconscious desires and fantasies, the cognitivists analyze “normative behavior such as perception, narrative comprehension, social cognition, and the experience of garden-variety emotions such as fear and pity”
... emotions has been one of the key areas of research in cognitive film theory (see, for example, Smith, Engaging Characters; Tan; Plantinga and Smith [eds.]; Smith, Film Structure). In his chapter for this volume, Plantinga continues this ...
... emotion; together with a new vocabulary that emphasizes porous boundaries—such as the transcultural and transmedial. Perhaps these hybrid spaces, as Homi Bhabha argues, “emerge in moments of historical transformation” (2) and represent ...