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Harvard Film Studies: Making Meaning : Inference and Rhetoric in the Interpretation of Cinema by David Bordwell (1991, Trade Paperback)
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MAKING MEANING: INFERENCE AND RHETORIC IN THE INTERPRETATION OF CINEMA (HARVARD FILM STUDIES) By David Bordwell **BRAND NEW**.
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About this product
Product Identifiers
PublisherHarvard University Press
ISBN-10067454336X
ISBN-139780674543362
eBay Product ID (ePID)27038418873
Product Key Features
Number of Pages352 Pages
Publication NameMaking Meaning : Inference and Rhetoric in the Interpretation of Cinema
LanguageEnglish
Publication Year1991
SubjectFilm / General, General, Film / History & Criticism
TypeTextbook
Subject AreaPhilosophy, Performing Arts
AuthorDavid Bordwell
SeriesHarvard Film Studies
FormatTrade Paperback
Dimensions
Item Height0.9 in
Item Weight16.8 Oz
Item Length9.1 in
Item Width6.1 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN89-030324
ReviewsAn A-list historian and theorist himself, Bordwell is the unchallenged capo di tutti capi of academic film studies...His industrial-strength overview is a streamlined and steady Eurail pass through the Continental modes of thought that have dominated the American university since the late 60s., An A-list historian and theorist himself, Bordwell is the unchallenged capo di tutti capi of academic film studies... His industrial-strength overview is a streamlined and steady Eurail pass through the Continental modes of thought that have dominated the American university since the late '60s., It's hard to avoid superlatives when talking about David Bordwell's work. Let me simply say that here is a book which, for lucidity, breadth, erudition, and rigor, only he could have written. It addresses and analyzes interpretive practice in a way that only the most self-absorbed critic can ignore, and then only at his or her own risk., [Bordwell] approaches the issue with his characteristically refreshing candor, clarity, and wit, proceeding from the direct question, 'How do film interpreters actually come up with the meanings at which they arrive?'...The controversies sure to be ignited by Making Meaning, in the short run, will be anything but dull; in the long run, its contributions to the development of film poetics will be of even greater import., A new book by David Bordwell is always an event. The wealth of examples, the sharp prose and vividness of his presentation give his writing force and persuasiveness., [Bordwell] approaches the issue with his characteristically refreshing candor, clarity, and wit, proceeding from the direct question, 'How do film interpreters actually come up with the meanings at which they arrive?' ...The controversies sure to be ignited by Making Meaning , in the short run, will be anything but dull; in the long run, its contributions to the development of film poetics will be of even greater import.
Dewey Edition19
Series Volume Number7
IllustratedYes
Dewey Decimal791.43/01/5
SynopsisDavid Bordwell's new book is at once a history of film criticism, an analysis of how critics interpret film, and a proposal for an alternative program for film studies. It is an anatomy of film criticism meant to reset the agenda for film scholarship., David Bordwell's new book is at once a history of film criticism, an analysis of how critics interpret film, and a proposal for an alternative program for film studies. It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such Making Meaning should be a landmark book, a focus for debate from which future film study will evolve. Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques--a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis.
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