The Oxford Guide to Film Studies

Description

The Oxford Guide to Film Studies represents the most comprehensive and up-to-date critical guide to the study of film explaining all the significant theories, debates, and approaches to the study of film. Organized in three sections: Approaches; Hollywood and the World; and World Cinema a host of the worlds leading experts outline the major debates in the subject in such topics as diverse as psychoanalysis and film, audience studies and cinema, postmodernism in the cinema, the Hollywood star system, film acting and film music as well as such areas of growing interest as gay and lesbian criticism, cultural studies and audience studies and postcolonial theory. The book also includes `readings illustrating the variety of theoretical approaches, sections on further reading , chapter summaries, and is illustrated throughout.

• The most comprehensive and up-to-date critical guide to the study of film

About the Author(s)

Edited by John Hill, Senior Lecturer, Department of Media and Performance Studies, University of Ulster at Coleraine, and Pamela Church Gibson, Senior Lecturer in Contextual and Cultural Studies, The London Institute

Consultant Editors: Richard Dyer, Department of Film Studies, University of Warwick, E. Ann Kaplan, Department of English, Stony Brook, New York, and Paul Willemen, Napier University, Edinburgh

Table of Contents

General Introduction, John Hill
PART ONE: CRITICAL APPROACHES
1:Introduction to Film Studies, Richard Dyer
STUDYING THE FILM TEXT
2:The Film Text and Film Form, Robert Phillip Kolker
3:Film Acting, Paul McDonald
4:Film Costume, Pamela Church Gibson
5:Film Music, Claudia Gorbman
THE FILM TEXT: THEORETICAL DEVELOPMENTS
6:Classic Film Theory and Semiotics, Anthony Easthope
7:Formalism and Neo-formalism, Ian Christie
8:Impressionism, Surrealism, and Film Theory, Robert B Ray
9:Film and Psychoanalysis, Barbara Creed
10:Post-Structuralism and Deconstruction, Peter Brunette
11:Film and Postmodernism, John Hill
FILM TEXT AND CONTEXT: GENDER, IDEOLOGY, AND IDENTITIES
12:Marxism and Film, Chuck Kleinhans
13:Feminism and Film, Patricia White
14:Gay and Lesbian Criticism, Anneke Smelik
15:Queer Theory, Alexander Doty
16:Pornography, Laura Kipnis
17:Race, Ethnicity, and Film, Robyn Wiegman
18:Film and Cultural Identity, Ray Chow
FILM TEXT AND CONTEXT: CULTURE, HISTORY, AND RECEPTION
19:Film and History, Dudley Andrew
20:Sociology and Film, Andrew Tudor
21:Cultural Studies and Film, Graeme Turner
22:Film Audiences, Jostein Gripsrud
23:Hermeneutics, Reception Aesthetics, and Film Interpretation, Noel King
PART TWO: AMERICAN CINEMA AND HOLLYWOOD: CRITICAL APPROACHES.
AMERICAN CINEMA: HISTORY, INDUSTRY, AND INTERPRETATION
1:American Cinema and Film History, John Belton
2:History and Cinema Technology, Duncan Petrie
3:Hollywood as Industry, Douglas Gomery
4:Early American Film, Tom Gunning
5:Classical Hollywood Film and Melodrama, E. Ann Kaplan
6:Post-classical Hollywood, Peter ???
CRITICAL CONCEPTS
7:Authorship and Hollywood, Stephen Crofts
8:Genre and Hollywood, Tom Ryall
9:The Star System and Hollywood, Jeremy G. Butler
POLITICS AND SOCIETY
10:Hollywood Film and Society, Douglas Kellner
11:Film Policy: Hollywood and Beyond, Albert Moran
12:Hollywood and the World, Toby Miller
PART THREE: WORLD CINEMA: CRITICAL APPROACHES
REDEFINING CINEMA: INTERNATIONAL AND AVANT-GARDE ALTERNATIVES
1:Concepts of National Cinema, Stephen Crofts
2:Modernism and the Avante-Gardes, Murray Smith
3:Realism, Modernism, and Post-Colonial, Ashish Rajadhyaksha
REDEFINING CINEMA: OTHER GENRES
4:The Documentary Film, John Izod & Richard Kilborn
5:The Animated Film, Michael OPray
EUROPEAN CINEMA
6:Iss ues in European Cinema, Ginette Vincendeau
CASE-STUDIES: MOVEMENTS, MOMENTS, AND FILMMAKERS
7:The Avant-Gardes and European Cinema before 1930, Ian Christie
8:Italian Post-War Cinema and Neo-Realism, Simona Monticelli
9:The French Nouvelle Vague, Jill Forbes
10:New German Cinema, Ulrike Sieglohr
11:East-Central European Cinema, Daniel Goulding
12:European Film Policy and the Response to Hollywood, Armand Mattelart
13:Directors and Stars
(a) Jean Renoir, Keith Reader
(b) Ingmar Bergman, Chris Darke
(c) Chantal Akerman, Cathy Fowler
(d) Pedro Almodóvar, José Arroyo
(e) Luc Besson, Susan Hayward
(f) Brigitte Bardot: A Star Case Study:, Ginette Vincendeau
ANGLOPHONE NATIONAL CINEMAS
CASE-STUDIES
14:British Cinema, Andrew Higson
15:Ireland and Cinema, Martin McLoone
16:Australian Cinema, Elizabeth Jacka
17:Canadian Cinema, Will Straw
WORLD CINEMA
18:Issues in World Cinema, Wimal Dissanayake
CASE-STUDIES: CINEMAS OF THE WORLD
19:Indian Cinema, Ashish Rajadhyaksha
20:Chinese Cinema, Berenice Reynaud
21(a):Hong Kong Cinema: Discovery and Pre-Discovery, Stephen Teo
21(b):China, and 1997, N. K. Leung
22:Taiwanese New Cinema, Kuan-Hsing Chen
23:Japanese Cinema, Freda Freiberg
24 Zc African Cinema:, N. Frank Ukadike
25:South American Cinema, Julianne Burton-Carvajal
FILM IN A CHANGING AGE
26:Film and Changing Technologies, Laura Kipnis
27:Film and Television, John Hill

Reviews

""One of the first things that strikes you about The Oxford Guide to Film Studies is the number of contributors, nearly 70 in all representing a fair cross-section of leading scholarship mainly (though not exclusively) from the United Kingdom and the United States. This is a great strength."" - The Times Higher Education Supplement, May 1999

""Prominence is given to the politics of gender and sexuality, an accurate reflection of the balance of debates within the discipline over the past two decades at least."" - The Times Higher Education Supplement, May 1999

""In its coverage of major theoretical issues, provides a sound introduction for undergraduate film-studies students and perhaps even more usefully, for students on courses on which film is only a part."" - The Times Higher Education Supplement, May 1999

""Featuring entries from most of the reigning luminaries in the field, this solid, exhaustive volume is possibly the best all-in-one guide currently available. The contributors supply skilful overviews of the major critical approaches, and there are a few surpises —- for instance, pornography is firmly ensconced as a respectable academic subject."" - Sight and Sound, May 1998

"substantial book that, particularly in its coverage of major theoretical issues, provides a sound introduction for undergraduate film-studies students and, perhaps even more usefully, for students on courses of which film is only a part." - Steve Blandford, The Times Higher Education Supplement