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Film Theory and Criticism

Introductory Readings

Eighth edition

Edited by Leo Braudy and Marshall Cohen

Publication Date - February 2016

ISBN: 9780199376896

960 pages
6-1/8 x 9-1/4 inches

In Stock

The most widely used and cited anthology of critical writings about film


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 eighth 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 pioneers in film theory and cutting-edge essays by contemporary scholars, the text examines both historical and theoretical viewpoints on the subject.

Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into ten sections-each comprising the major fields of critical controversy and analysis-this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike.

A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism.

New to this Edition

  • Expanded section on film spectatorship
  • Section devoted to film sound
  • Extended selections from the perspective of cognitive philosophy
  • Expanded treatments of digitization and globalization

About the Author(s)

Leo Braudy is University Professor and Leo S. Bing Chair in English and American Literature and Professor of English, Art History, and History at the University of Southern California. Among other books, he is author of Native Informant: Essays on Film, Fiction, and Popular Culture, The Frenzy of Renown: Fame and Its History, and most recently, From Chivalry to Terrorism: War and the Changing Nature of Masculinity.

Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California. He is coeditor, with Roger Copeland, of What Is Dance? Readings in Theory and Criticism, and founding editor of Philosophy and Public Affairs.

Previous Publication Date(s)

January 2009
March 2004
August 1998

Table of Contents



    VSEVOLOD PUDOVKIN From Film Technique
    [On Editing]

    Beyond the Shot [The Cinematographic Principle and the Ideogram]
    The Dramaturgy of Film Form [A Dialectic Approach to Film Form]

    ANDRÉ BAZIN From What is Cinema?
    The Evolution of the Language of Cinema

    CHRISTIAN METZ From Film Language
    Some Points in the Semiotics of Cinema

    GILBERT HARMAN Semiotics and the Cinema: Metz and Wollen

    STEPHEN PRINCE The Discourse of Pictures: Iconicity and Film Studies

    DANIEL DAYAN The Tutor-Code of Classical Cinema

    WILLIAM ROTHMAN Against "The System of Suture"


    SIEGFRIED KRACAUER From Theory of Film
    Basic Concepts

    ANDRÉ BAZIN From What is Cinema?
    The Ontology of the Photographic Image
    The Myth of Total Cinema
    De Sica: Metteur-en-scene

    RUDOLF ARNHEIM From Film As Art
    The Complete Film

    JEAN-LOUIS BAUDRY The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema

    NOEL CARROLL From Mystifying Movies
    Jean-Louis Baudry and "The Apparatus"


    SIEGFRIED KRACAUER From Theory of Film
    The Establishment of Physical Existence

    BÉLA BALÁSZ From Theory of the Film
    The Close-up
    The Face of Man

    RUDOLF ARNHEIM From Film as Art
    Film and Reality
    The Making of a Film

    JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematic Apparatus

    NOEL CARROLL Defining the Moving Image

    D. N. RODOWICK Elegy for Film



    CHRISTIAN METZ Aural Objects

    MARY ANN DOANE The Voice in the Cinema: The Articulation of Body and Space

    MICHEL CHION From The Voice in Cinema

    JOHN BELTON Technology and Aesthetics of Film Sound

    RICK ALTMAN From Sound Theory / Sound Practice


    ANDRÉ BAZIN From What is Cinema?
    Theater and Cinema

    LEO BRAUDY From The World in a Frame
    Acting: Stage vs. Screen

    DUDLEY ANDREW From Concepts in Film Theory

    TOM GUNNING From D.W. Griffith and the Origins of American Narrative Film
    Narrative Discourse and the Narrator System

    JERROLD LEVINSON Film Music and Narrative Agency

    PETER WOLLEN Godard and Counter Cinema: Vent d'est

    CARL PLANTINGA Notes on Spectator Emotion and Ideological Film Criticism


    ANDREW SARRIS Notes on the Auteur Theory in 1962

    PETER WOLLEN From Signs and Meaning in the Cinema
    The Auteur Theory [Howard Hawks and John Ford]

    ROLAND BARTHES The Face of Garbo

    MOLLY HASKELL From Reverence to Rape
    Female Stars of the 1940s

    GILBERTO PEREZ From The Material Ghost
    [On Keaton and Chaplin]

    RICHARD DYER From Stars

    THOMAS SCHATZ From The Genius of the System
    The Whole Equation of Pictures

    JEROME CHRISTENSEN From America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures


    LEO BRAUDY From The World in a Frame
    Genre: The Conventions of Connection

    RICK ALTMAN From Film/Genre
    A Semantic/Syntactic/Pragmatic Approach to Genre
    Conclusion: A Semantic/Syntactic/Pragmatic Approach to Genre

    PAUL SCHRADER Notes on Film Noir

    ROBIN WOOD Ideology, Genre, Auteur

    LINDA WILLIAMS Film Bodies: Gender, Genre, and Excess

    CAROL CLOVER From Men, Women, and Chainsaws

    CYNTHIA A. FREELAND Feminist Frameworks for Horror Films

    DAVID BORDWELL The Art Cinema as a Mode of Film Practice


    JEAN COMOLLI and JEAN NARBONI Cinema/Ideology/Criticism

    CHRISTIAN METZ From The Imaginary Signifier
    Identification, Mirror
    The Passion for Perceiving
    Disavowal, Fetishism

    LAURA MULVEY Visual Pleasure and Narrative Cinema

    TANIA MODLESKI From The Women Who Knew Too Much: Hitchcock and Feminist Theory
    The Master's Dollhouse: Rear Window

    TOM GUNNING An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator

    RICHARD DYER From White
    Lighting for Whiteness

    MANTHIA DIAWARA Black Spectatorship: Problems of Identification and Resistance

    bell hooks The Oppositional Gaze: Black Female Spectators

    LEILANI NISHIME The Mulatto Cyborg: Imaging a Multiracial Future


    LEV MANOVICH From The Language of New Media
    Synthetic Realism and Its Discontents
    The Synthetic Image and Its Subject
    Digital Cinema and the History of a Moving Image

    PHILIP ROSEN From Change Mummified

    JOHN BELTON The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary

    KRISTEN WHISSEL The Digital Multitude

    KRISTEN DALY Cinema 3.0: The Interactive-Image

    HENRY JENKINS Quentin Tarantino's Star Wars? Digital Cinema, Media Convergence, and Participatory Culture


    DUDLEY ANDREW Time Zones and Jetlag: The Flows and Phases of World Cinema

    ELLA SHOHAT and ROBERT STAM From Unthinking Eurocentrism: Multiculturalism and the Media
    Stereotype, Realism, and the Struggle Over Representation

    STEPHEN CROFTS Reconceptualizing National Cinema(s)

    MITSUHIRO YOSHIMOTO The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order

    REY CHOW Film and Cultural Identity

    YINGJIN ZHANG Chinese Cinema and Transnational Film Studies

    WIMAL DISSANAYAKE Issues in World Cinema

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