Interpretation and Film Studies: Movie Made Meanings – Ebook Instant Download/Delivery ISBN(s): 9783030447380,9783030447397,3030447383,3030447391
Product details:
- ISBN-10 : 3030447383
- ISBN-13 : 978-3030447380
- Author(s):
This book argues that the sustained interpretation of individual movies has, contrary to conventional wisdom, never been a major preoccupation of film studies―that, indeed, the field is marked by a dearth of effective, engaging, and enlightening critical analyses of single films. The book makes this case by surveying what has been written about four historically important and well-known movies (D. W. Griffith’s Way Down East, Marcel Carné’s Port of Shadows, Mike Nichols’s The Graduate, and Michelangelo Antonioni’s Red Desert), none of which has been the focus of sustained critical attention, and by exhaustively examining the kinds of work published in four influential film journals (Cinema Journal, Screen, Wide Angle, and Movie). The book goes on to argue for the value of the work of interpretation, illustrating this value through extended analyses of Roman Polanski’s Chinatown and Christopher Nolan’s Memento, both of which thematize interpretation. Novak demonstrates the causes and consequences of reading poorly and the importance of reading well.
Table contents:
1. Introduction: The (Non)Intersections of Film and Literary Studies
Part I. The Difference a Reading Makes: Interpretation as Absent Center
2. Forms of Critical Neglect: The Cases of Griffith’s Way Down East (1920) and Carné’s Port of Shadows (Le Quai des brumes, 1938)
3. Making the Future “Different”: The Politics of Nichols’s The Graduate (1967)
4. Artistic Solutions to Sociological Problems: Seeing (with) Giuliana in Antonioni’s Red Desert (Il deserto rosso, 1964)
5. The Work of Film Studies: An Analysis of Four Journals
6. In Defense of Interpretation: The Mind of the Movie/The World of the Film
Part II. Watching the Detective: Readings
7. The Chinatown Syndrome
8. “It’s Like Waking”: Making Meaning in and of Christopher Nolan’s Memento
9. Conclusion: Interpretation and the New Cinephilia
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