The Oxford Handbook of Film Theory 1st edition by Kyle Stevens 0190873943 9780190873943

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ISBN-10 :  0190873943

ISBN-13 :  9780190873943

Author:  Kyle Stevens  

Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what “a movie” or “the cinematic” are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology’s permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film’s materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory’s Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.

The Oxford Handbook of Film Theory 1st Table of contents:

1. A Machine for Killing Time
2. Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic
3. Moral Philosophy and the Moving Image
4. Film|Video|Essay
5. The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory
6. In Defense of Psychoanalytic Film Theory
Film Theory’s Project of Emancipation
7. Film Theory as Ideology Critique (after Trump)
8. Buddhism and Film Theory: Beyond a Legacy
9. Feminist Film Theory on the Brink of Laughter
10. Theory for the Masses; or, Toward a Vernacular Criticism
11. “The Fold of Old Wounds”: Daughters of the Dust, Eve’s Bayou, and Mississippi Damned as Cinematic Black Feminist Theory
Apparatus and Perception
12. Lesbian Photographers: Affect and Cinematic Self-Discovery
13. Notes on Some Forms of Repetition
14. Empiricism and Film Theory: On the Moviola’s Political Ontology
15. Film Theory and Machine Vision
16. Headphones, Cinematic Listening, and the Frame of the Skull
Audiovisuality
17. The Audio-visual Nonrelation and the Digital Break
18. The Composer of musique concrète Wields a Camera
19. The Many Bodies of the Dancer-Actress: Toward a Kinesics of Film Acting
20. Documentary Listening Habits: From Voice to Audibility
21. Audiovisual Rhythm and Its Spectator: Moonlight as Example
How Close Is Close Reading?
22. Contesting the White Gaze: Black Film and Postcinematic Spectatorship
23. In Other Words: Film and the Spider Web of Description
24. Women’s Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano
25. Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis
26. On Fire: When Fashion Meets Cinema
27. When and Where Does a Film Begin? Putting Films in Context
The Turn to Experience
28. The Affective Turnabout’s Fair Play
29. An Invention with a Future: Collective Viewing, Joint Deep Attention, and the Ongoing Value of the Cinema
30. Those Who Have: The Impersonality of Film Theory
31. On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect
32. Cinematic Experience: From Moving Images to Virtual Reality

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