What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectatoras mind, body and senses. Using seven distinctive configurations of spectator and screen that move progressively from aexteriora to ainteriora relationships, the authors retrace the most important stages of film theory from its beginnings to the presentafrom neo-realist and modernist theories to psychoanalytic, aapparatus, a phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. This new and updated edition of Film Theory: An Introduction through the Senses has been extensively revised and rewritten throughout, incorporating discussion of contemporary films like Her and Gravity, and including a greatly expanded final chapter, which brings film theory fully into the digital age.on the topic is Garrett Stewarta#39;s Framed Time: Toward a Postfilmic Cinema, where he proposes a new approach to film narratology which he calls a#39;narratography. ... In a two-part essay from 1972 and 1975 entitled Le Travail du film, Kuntzel dissected the openings of Fritz Langa#39;s ... 30 Kuntzela#39;s textual analysis of THE MOST DANGEROUS GAME is exemplary in this sense, not only by its careful and anbsp;...
|Author||:||Professor in the Department of Art and Culture Thomas Elsaesser, Thomas Elsaesser, Malte Hagener|
|Publisher||:||Routledge - 2015-03-24|