Movies and Methods, Volume 2 by Bill Nichols (1985, Trade Paperback)

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II: An Anthology'.

About this product

Product Identifiers

PublisherUniversity of California Press

ISBN-100520054091

ISBN-139780520054097

eBay Product ID (ePID)675680

Product Key Features

Book TitleMovies and Methods, Volume 2

Number of Pages764 Pages

LanguageEnglish

Publication Year1985

TopicFilm / General

IllustratorYes

GenrePerforming Arts

AuthorBill Nichols

FormatTrade Paperback

Dimensions

Item Height1.8 in

Item Weight36.9 Oz

Item Length9 in

Item Width6 in

Additional Product Features

LCCN74-022969

Dewey Edition19

Volume NumberVol. 2

Dewey Decimal791.43

Table Of ContentAcknowledgments Introduction BILL NICHOLS Part 1 HISTORICAL CRITICISM The Stalin Myth in Soviet Cinema (with an Introduction by Dudley Andrew) ANDRE BAZIN Technique and Ideology: Camera, Perspective, Depth of Field JEAN-LOUIS COMOLLI Technological and Aesthetic Influences on the Development of Deep-Focus Cinematography in the United States PATRICK OGLE Sound and Color EDWARD BUSCOMBE Notes on Columbia Pictures Corporation 1926-1941 EDWARD BUSCOMBE Writing the History ofthe American Film Industry: Warner Brothers and Sound DOUGLAS GOMERY Color and Cinema: Problems in the Writing of History EDWARD BRANIGAN Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood JANET STAIGER Part 2 GENRE CRITICISM Tales of Sound and Fury: Observations on the Family Melodrama THOMAS ELSAESSER Minnelli and Melodrama GEOFFREY NOWELL-SMITH An Introduction to the American Horror Film ROBIN WOOD Entertainment and Utopia RICHARD DYER Beyond Verite: Emile de Antonio and the New Documentary of the Seventies THOMAS WAUGH The Voice of Documentary BILL NICHOLS Beyond Observational Cinema DAVID MACDOUGALL The Avant-Garde: History and Theories CONSTANCE PENLEY AND JANET BERGSTROM Part 3 FEMINIST CRITICISM Visual Pleasure and Narrative Cinema LAURA MULVEY Towards a Feminist Film Practice: Some Theses CLAIREJOHNSTON Jeanne Dielman: Death in Installments JAYNE LOADER In the Name of Feminist Film Criticism B. RUBY RICH The Right of Re-Vision: Michelle Citron''s Daughter Rite LINDA WILLIAMS AND B. RUBY RICH Gentlemen Consume Blondes MAUREEN TURIM The Place of Woman in the Cinema of Raoul Walsh PAM COOK AND CLAIRE JOHNSTON Part 4 STRUCTURALIST SEMIOTICS Signification in the Cinema PAULSANDRO The Anatomy of a Proletarian Film: Warner''s Marked Woman CHARLES ECKERT The Searchers: An American Dilemma BRIAN HENDERSON Mildred Pierce Reconsidered JOYCE NELSON The Spectator-in-the-Text: The Rhetoric of Stagecoach NICK BROWNE S/Z and The Rules of the Game JULIA LESAGE Godard and Counter Cinema: Vent d'' Est PETER WOLLEN Jaws, Ideology, and Film Theory STEPHEN HEATH Part 5 PSYCHOANALYTIC SEMIOTICS Psychoanalysis and Cinema: The Imaginary Discourse CHARLES F. ALTMAN Ideological Effects of the Basic Cinematographic Apparatus JEAN-LOUIS BAUDRY Story/Discourse: Notes on Two Kinds of Voyeurism CHRISTIAN METZ A Note on Story/Discourse GEOFFREY NOWELL-SMITH On the Naked Thighs of Miss Dietrich PETER BAXTER The Voice in the Cinema: The Articulation of Body and Space MARY ANN DOANE The Avant-Garde and Its Imaginary CONSTANCE PENLEY Masochism and the Perverse Pleasures of the Cinema GAYLYN STUDLAR Part 6 COUNTERCURRENTS The Neglected Tradition of Phenomenology in Film Theory DUDLEY ANDREW Colonialism, Racism, and Representation: An Introduction ROBERT STAMAND LOUISE SPENCE Responsibilities of a Gay Film Critic ROBIN WOOD A Brechtian Cinema? Towards a Politics of Self-Reflexive Film DANA POLAN The Point-of-View Shot EDWARD BRANIGAN Statistical Style Analysis of Motion Pictures BARRY SALT The Space between Shots DAI VAUGHN Class and Allegory in Contemporary Mass Culture: Dog Day Afternoon as a Political Film FREDRIC JAMESON Further Readings Index

SynopsisThe original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods, Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity--from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. The writings collected in this volume exhibit not only a strong sense of personal engagement but als a persistent awareness of the social importance of the cinema in our culture. Movies and Methods, Volume II, will prove as invaluable to the serious student of cinema as its predecessor; it will be an essential reference work for years to come., The original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods , Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity--from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. The writings collected in this volume exhibit not only a strong sense of personal engagement but als a persistent awareness of the social importance of the cinema in our culture. Movies and Methods , Volume II, will prove as invaluable to the serious student of cinema as its predecessor; it will be an essential reference work for years to come., The original Movies and Methods volume (1976) captured the dynamic evolution of film theory and criticism into an important new discipline, incorporating methods from structuralism, semiotics, and feminist thought. Now there is again ferment in the field. Movies and Methods , Volume II, captures the developments that have given history and genre studies imaginative new models and indicates how feminist, structuralist, and psychoanalytic approaches to film have achieved fresh, valuable insights. In his thoughtful introduction, Nichols provides a context for the paradoxes that confront film studies today. He shows how shared methods and approaches continue to stimulate much of the best writing about film, points to common problems most critics and theorists have tried to resolve, and describes the internal contraditions that have restricted the usefulness of post-structuralism. Mini-introductions place each essay in a larger context and suggest its linkages with other essays in the volume. A great variety of approaches and methods characterize film writing today, and the final part conveys their diversity-from statistical style analysis to phenomenology and from gay criticisms to neoformalism. This concluding part also shows how the rigorous use of a broad range of approaches has helped remove post-structuralist criticism from its position of dominance through most of the seventies and early eighties. The writings collected in this volume exhibit not only a strong sense of personal engagement but als a persistent awareness of the social importance of the cinema in our culture. Movies and Methods , Volume II, will prove as invaluable to the serious student of cinema as its predecessor; it will be an essential reference work for years to come.

LC Classification NumberPN1994.M7