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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... Branigan confines his exhaustive description to Oudart's analysis of one shot in The General (Keaton, 1926). After presenting these nine successive stages (135–6), Branigan redescribes them entirely in terms of framing: the spectator's ...
... Branigan's term [2006], a projected hypothesis) performs an “impossible” and continuous shot. Brown analyzes examples from War of the Worlds (2005), Panic Room (2002), and Fight Club (1999). Douglas Brown and Tanya Krzywinska use the ...
... this paradox. Like Plantinga, Volker Ferenz also draws upon cognitive and affective theory (especially that of Edward Branigan and Murray Smith), but he uses it to add some much the experience of garden-variety emotions such as fear and ...
... Theory Is Dead—Like a Zombie.” Philosophy and Literature 30.1 (2006): 289-98. Branigan, Edward. Narrative Comprehension and Film. New York: Routledge, 1992. ——. Projecting a Camera: Language-Games in Film works cited ...
... Branigan, Projecting a Camera. International Journal of Communication, 1 (2007): 143–8, at http://ijoc.org/ojs/index.php/ijoc/article/viewFile/182/93 (accessed April 15 2008). King, Geoff. Spectacular Narratives: Hollywood in the Age of ...