The Film Experience is the only text to combine a serious, comprehensive approach to the study of film with a practical and engaging style. This dynamic text discusses form and technique within historical and cultural contexts and makes the connection between how film techniques work and how they shape a film's many possible meanings.The Film Experience meets students where they are as avid movie fans and then moves them toward becoming critical viewers and writers.
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Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two "viewers" viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both "mine" and "another's." In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.
Making a movie may be part art and part science, but it's 100 percent business. In this comprehensive and accessible guide, Kelly Charles Crabb shares the information necessary to understand the legal and financial challenges involved in getting a film from story to the silver screen and beyond. Drawing on over twenty years of experience in the entertainment industry, as both lawyer and producer, Crabb reveals his insider's knowledge on: Understanding copyright and intellectual property law Obtaining financial backing Selecting and hiring the key players Overseeing the filming Locking in the theatrical, home video, and TV distribution Understanding merchandise licensing and everything else you need to know to make a serious run at producing and exploiting a movie. Offering hands-on illustrations from actual movie contracts to show how the basic deals for each of the many stages are assembled, the author explains in plain and simple terms what the contracts contain and why. It gives the big picture and the finer points of movie making -- from concept to raking in the last dollar after the film is completed. While it may not transform you into a lawyer or an industry accountant -- and that's not what you want anyway -- it will take you through all the business and legal principles you need to know to be a successful and knowledgeable professional producer.
From the kinetoscope, used by one viewer at a time, to the lavish movie palaces of Hollywood's golden era, the experience of watching films has varied enormously across film. Exhibition, The Film Reader traces the emergence of a culture of moviegoing, exploring the range of venues in which films have been shown and following the fluctuating status of film and the continuning struggle over audiences.
"... will add much to the repertoire of film scholarship... " --Choice This film theory classic brings semiotics and psychoanalytic concepts to bear on the film experience, to answer questions such as: In what way does film address its spectator? How does the film prefigure the spectator? Is the film aware of its orientation towards its spectator? And to what extent does it posit itself as the spectator's lead?
The Films of John Cassavetes: Pragmatism, Modernism, and the Movies is the first book to tell in detail the story of a maverick filmmaker who worked outside the studio system. Providing extended critical discussion on six of his most important films (Shadows, Faces, Minnie and Moskowitz, A Woman Under the Influence, The Killing of a Chinese Bookie, and Love Streams), Ray Carney argues that Cassavetes' work is a distinctly life-affirming form of modernist expression that is at odds with the world-denying modernism of many of the most important art works produced in this century. Cassavetes is revealed to be a profoundly thoughtful and self-aware filmmaker and a deeply philosophical thinker, whose work takes its place in the American tradition along with the writings of Ralph Waldo Emerson and William James. The six films treated here emerge as expressive interpretations of the bewildering challenges in contemporary American cultural experience.
A comprehensive introduction to film history, The Film Genre Book allows the reader to create their own narrative of film through history by focusing on seven genres, highlighting a key film from each genre over a ninety-year period -- sixty-three films discussed in detail. The reader can trace the developments in a particular genre over time or compare films in a particular decade from the different genres. Each case-study considers issues of historical context, representation and the close textual analysis of significant scenes. Analysing films as diverse as Bambi and Pan's Labyrinth, the book immerses its reader into the full range of film experience. Its breadth of study, and the way in which it bridges the gap between commercial film guides and academic studies, makes it invaluable to teacher, student, and cineaste alike.
This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship.
In the blockbuster film Avatar, science fiction and the technological prowess of director James Cameron meet in a heady concoction that, while visually ravishing, could easily be dismissed as “eye candy.” While critics most frequently acclaimed its breakthrough 3-D technology, close scrutiny of the film raises provocative questions about the relationship between mind and body, appearance and reality. It brings into focus the relationships of humans to their technology, their planet, and each other and highlights the nature and potential of film itself. This work explores the theoretical and philosophical issues brought to bear in Avatar, exploring the spaces between human and machine; technology and nature; chick flick and action-adventure; and old-fashioned storytelling and cutting-edge technology. Central to the book’s analysis is an examination of the extent to which Avatar melds the seer and the seen, illuminating an alternative visual paradigm. Instructors considering this book for use in a course may request an examination copy here.