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Film Theory and Criticism: Introductory Readings
"Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its seventh edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pio ...more
Paperback, Second Edition, 896 pages
Published September 1st 1996 by Oxford University Press, USA
(first published 1974)
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I'm reading this for a film theory class and the essays are pretty unreadable. Very few are immediately understandable, some are just ridiculous (Mulvey's male gaze theories, for example, though they're probably widely accepted and referred to), and all use incredibly technical language and jargon where they could easily be using colloquial language. (For example: 'dyadic' is used instead of 'binary', 'dual', 'dichotomy', or other more commonly used words. I encountered 'antinomy' and honestly t ...more
Nice variety of essays, from many different time periods and different schools of thought. If you had to own 3 books about film, this would be one of them (Bordwell's book on narration and Stam's book on the history of Film Theory would be the others). Sure, there are "important" film theorists like Bazin that you should get to know, but its better to identify all the major theoretical approaches before getting into one author.
Aaaaaaaah! Had to read this in my third year at uni. I suppose it contains all the significant writings on film from the last 100 years and writes IN DETAIL on all the changes and isms that film criticism has gone through. Doesn't mean that it's enjoyable.
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“Every art always deals with human beings, it is a human manifestation and presents human beings. To paraphrase Marx: "The root of all art is man." When the film close-up strips the veil of our imperceptiveness and insensitivity from the hidden little things and shows us the face of objects, it still shows us man, for what makes objects expressive are the human expressions projected on to them. The objects only reflect our own selves, and this is what distinguished art from scientific knowledge (although even the latter is to a great extent subjectively determined). When we see the face image of things, we do what the ancients did in creating gods in man's image and breathing a human soul into them. The close-ups of the film are the creative instruments of this mighty visual anthropomorphism.”More quotes…