Theorizing the Moving Image (Cambridge Studies in Film)
Cambridge University Press, 6/20/1996
EAN 9780521466073, ISBN10: 0521466075
Paperback, 448 pages, 23.5 x 19 x 2.6 cm
Language: English
Originally published in English
A selection of essays written by a leading film critic, this 1996 volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory.
Part I. Questioning Media
1. Medium specificity arguments and the self-consciously invented arts
2. The specificity of media in the arts
3. Concerning uniqueness claims for photographic and cinematographic representation
4. Defining the moving image
Part II. Popular Film and TV
5. The power of movies
6. Toward a theory of film suspense
7. As the dial turns
notes on soap operas
8. Toward a theory of point of view editing
9. Notes on movie music
10. Notes on the sight gag
Part III. Avant-garde and Documentary Film
11. Avant-garde film and film theory
12. Causation, the amplification of movement and the avant-garde film
13. Language and cinema
preliminary notes for a theory of verbal images
14. A note on film metaphor
15. From real to reel
entangled in non-fiction film
16. Reply to Carol Browson and Jack C. Wolf
Part IV. Ideology
17. The image of women in film
a defense of a paradigm
18. Film, rhetoric and ideology
Part V. The History of Film Theory
19. Film/mind analogies
the case of Hugo Munsterberg
20. Hans Richter's Struggle for Film
21. A brief note on Frampton's notion of metahistory
Part VI. Polemical Exchanges
22. Cognitivism, contemporary film theory and method
23. Cracks in the acoustic mirror
24. A reply to Heath
25. Replies to Jennifer Hammett and Richard Allen
Part VII. False Starts
26. Film history and film theory
27. Art, film and ideology
28. Toward a theory of film editing.