Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its seventh edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory--including Rudolf Arnheim, Siegfried Kracauer, and Andre Bazin--and cutting-edge essays by such contemporary scholars as David Bordwell, Tania Modleski, Thomas Schatz, and Richard Dyer, the book examines both historical and theoretical viewpoints on the subject. Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into eight sections--each comprising the major fields of critical controversy and analysis--this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. The seventh edition also integrates exciting new material on feminist theory, queer cinema, and global cinema, as well as a new section, "Digitization and Globalization," which engages important recent developments in technology and world cinema. A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism. ABOUT THE EDITORS Leo Braudy is University Professor and Bing Professor of English at the University of Southern California. Among other books, he is author of Native Informant: Essays on Film, Fiction, and Popular Culture (OUP, 1991), The Frenzy of Renown: Fame and Its History (OUP, 1986), and most recently, From Chivalry to Terrorism: War and the Changing Nature of Masculinity (2003). Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California. He is coeditor, with Roger Copeland, of What Is Dance? Readings in Theory and Criticism (OUP, 1983) and founding editor of Philosophy and Public Affairs.
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讀後感
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用戶評價
兩個學期＋準備考試的大半個暑假過去瞭，這本大部分好好讀過，整個也翻過瞭，就來標一下吧～裏麵的各位，我一定會好好記住你們的名字和論點，將來裝逼就靠你們瞭嘿嘿嘿！
评分Film Studies標準教科書～ （貌似還沒有中文版，好想翻譯喲！
评分tooooo tough!
评分呼~~快900頁的大部頭讀瞭四個月終於讀完瞭。幾乎是電影研究的百科全書，卻沒有百科全書那種詞條間的重復和孤立。不同曆史時段不同理論間的互相質疑和迴應十分清楚，作為譜係學來讀更加有趣——原來巴贊這麼康德，原來Metz這麼教條，原來《手冊》曾經如此激進。總之，電影研究這事兒在其起源之時曾站在人文學科的對立麵去批判後者，現在電影研究卻成為學科之一，強化服務於新殖民主義的文化政治學——“Let us go back to the spirit of true radicalism that once made film studies such an exciting space for critical thinking.”筆記慢慢補。
评分Film Studies標準教科書～ （貌似還沒有中文版，好想翻譯喲！
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