"A comprehensive introduction to film that recognizes students as movie fans and helps them understand the art form's full scope. The authors situate their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we watch film, from economics and exhibition to marketing and the star system." -- Blackwells.
the film experience
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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.
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.
"Play it again, Sam" is the motto of cult film enthusiasts, who will watch their favorite movie over and over, "beyond all reason." What is the appeal of cult movies? Why do fans turn up in droves at midnight movies or sit through the same three-hanky classics from Hollywood's golden era? These are some of the questions J. P. Telotte and twelve other noted film scholars consider in this groundbreaking study of the cult film. The book identifies two basic types of cult films—older Hollywood movies, such as Casablanca, that have developed a cult following and "midnight movies," most notably The Rocky Horror Picture Show. Telotte, Bruce Kawin, and Timothy Corrigan offer thought-provoking discussions about why these two types of movies become cult films, the sort of audience they attract, and the needs they fulfill for that audience. Subsequent essays employ a variety of cultural, feminist, ideological, and poststructural strategies for exploring these films. In a section on the classical cult film, the movie Casablanca receives extensive treatment. An essay by T. J. Ross considers Beat the Devil as a send-up of cult films, while another essay by Wade Jennings analyzes the cult star phenomenon as personified in Judy Garland. "Midnight movie madness" is explored in essays on The Rocky Horror Picture Show, movie satires of the 1950s, science fiction double features, and horror thrillers. Illustrated with scenes from favorite movies and written for both fans and scholars, The Cult Film Experience will appeal to a wider audience than the "usual suspects."
The Film Experience is a comprehensive introduction to film that recognizes students as movie fans while surpassing all other texts in helping them understand the art form's full scope. Noted scholars and teachers Tim Corrigan and Patricia White capture the complete film experience, situating their strong coverage of the medium's formal elements within the larger cultural contexts that inform the ways we all watch film--from economics and exhibition to marketing and the star system. A host of learning tools gives students the support they need to make the transition from movie fan to critical viewer. Now with a sharper focus that highlights the essential formal and cultural concepts of cinema, and a powerful new suite of video and media, The Film Experience is the consummate introductory film text. Read the preface.
You see them on the video shelves, with titles such as Shadow Tracker, Psycho Girls, and The Blair Witch Project. Skeptically, perhaps, you rent one and slip it into the VCR. Hey, you think, this isn’t so bad—sometimes actually quite good. Suddenly, you discover that there is a whole range of movies from filmmakers operating outside the studio system that have their own attractions that the big budget fare can’t match. You have, of course, discovered the world of independent filmmaking. A fascinating group of independent film directors and producers, in interviews with the author, discuss their work and the state of the independent film industry at the end of the 20th century. Joe Bagnardi, Dennis Devine, Andrew Harrison, Jeff Leroy, Andrew Parkinson, Brett Piper, and 23 others cover such topics as the increased interest in independent films and how they are changing thanks to high-tech advances. These filmmakers vary widely in age, experience, formats and budgets—and choice of subject matter—but they all have a great passion for their work.
The light and sound of the motion picture, once perceived, are a gateway to a multisensory experience of the spectator. Moving beyond the oft-discussed perceptual elements of vision and hearing, The Multisensory Film Experience analyses temperature, pain, and balance in order to argue that it is the experience of film that’s inherently multisensory, not the medium. Luis Rocha Antunes here explores the work of well-loved film-makers Erik Jensen, Gus Van Sant and Ki-Duk Kim to offer new insights into how viewers experience films and understand their stories. This is an original contribution to an emerging field of research and will become essential reading for film scholars.
An Introduction to Film Studies has established itself as the leading textbook for students of cinema. This revised and updated third edition guides students through the key issues and concepts in film studies, and introduces some of the world's key national cinemas including British, Indian, Soviet and French. Written by experienced teachers in the field and lavishly illustrated with over 122 film stills and production shots, it will be essential reading for any student of film.Features of the third edition include:*full coverage of all the key topics at undergraduate level*comprehensive and up-to-date information and new case studies on recent films such as Gladiator , Spiderman , The Blair Witch Project, Fight Club , Shrek and The Matrix*annotated key readings, further viewing, website resources, study questions, a comprehensive bibliography and indexes, and a glossary of key terms will help lecturers prepare tutorials and encourage students to undertake independent study.Individual chapters include:*Film form and narrative*Spectator, audience and response*Critical approaches to Hollywood cinema: authorship, genre and stars*Animation: forms and meaning*Gender and film*Lesbian and gay cinema*British cinema*Soviet montage Cinema*French New Wave*Indian Cinema