A revision of Braudy and Cohen's successful anthology designed for undergraduate and graduate courses in film theory. While focusing on some new trends in film technology and viewership, as well as continuing the turn towards film studies as an extension of cultural studies, it provides a broad critical and historical survey that includes pioneers of film theory such as Rudolf Arnheim, Siegfried Kracauer, and Andre Bazin; and contemporary scholars such as Christina Gledhill, Seymour Chatman, and Kristin Thompson. Contents: 1. Film Language 2. Film and Reality 3. The Film Medium: Image and Sound 4. Film Narrative and the Other Arts 5. The Film Artist 6. Film Genres 7. Film: Psychology, Ideology, and Technology Index

Preface I. Film Language VSEVOLOD PUDOVKIN, from Film Technique [On Editing] SERGEI EISENSTEIN, from Film Form Beyond the Shot [The Cinematographic Principle and the Ideogram] The Dramaturgy of Film Form [The Dialectical Approach to Film Form] ANDRE BAZIN, from What Is Cinema? The Evolution of the Language of Cinema BRIAN HENDERSON Toward a Non-Bourgeois Camera Style CHRISTIAN METZ, from Film Language Some Points in the Semiotics of the Cinema Problems of Denotation in the Fiction Film STEPHEN PRINCE The Discourse of Pictures: Iconicity and Film Studies KAJA SILVERMAN, from The Subject of Semiotics [On Suture] NICK BROWNE The Spectator-in-the-Text: The Rhetoric of Stagecoach II. Film and Reality SIEGFRIED KRACAUER, from Theory of Film Basic Concepts SIEGFRIED KRACAUER, from From Caligari to Hitler The Cabinet of Dr. Caligari ANDRE 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 MAYA DEREN Cinematography: The Creative Use of Reality STAN BRAKHAGE From Metaphors on Vision JEAN-LOUIS BAUDRY The Apparatus: Metaphysical Approaches to the Impression of Reality in Cinema NOEL CARROLL From Mystifying Movies Jean-Louis Baudry and "The Apparatus" STEPHEN PRINCE True Lies: Perceptual Realism, Digital Images, and Film Theory GILLES DELEUZE From Cinema Preface to the English Edition The Origin of Crisis: Italian Neo-realism and the French New Wave Beyond the Movement-Image III. The Film Medium: Image and Sound ERWIN PANOFSKY Style and Medium in the Motion Pictures SIEGFRIED KRACAUER, from Theory of Film The Establishment of Physical Existence BELA BALASZ, 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 NOEL CARROLL, from Philosophical Problems of Classical Film Theory The Specificity Thesis GERALD MAST, from Film/Cinema/Movie Projection STANLEY CAVELL, from The World Viewed Photograph and Screen Audience, Actor, and Star Types: Cycles as Genres Ideas of Origin JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematographic Apparatus CHRISTIAN METZ Aural Objects SERGEI EISENSTEIN, VSEVELOD PUDOVKIN, AND GRIGORI ALEXANDROV Statement on Sound MARY ANN DOANE The Voice in the Cinema: The Articulation of Body and Space JOHN BELTON Technology and Aesthetics of Film Sound JOHN ELLIS, from Visible Fictions Broadcast TV as Sound and Image IV. Film Narrative and Other Arts HUGO MUNSTERBERG, from The Film: A Psychological Study The Means of the Photoplay ANDRE BAZIN, from What is Cinema? Theater and Cinema LEO BRAUDY, from The World in a Frame Acting: Stage vs. Screen SERGEI EISENSTEIN, from Dickens, Griffith and Ourselves Dickens, Griffith, and Film Today SEYMOUR CHATMAN What Novels Can Do That Films Can't (and Vice Versa) DUDLEY ANDREW, from Conceps in Film Theory Adaptation TOM GUNNING Narrative Discourse and the Narrator System KRISTIN THOMPSON The Concept of Cinematic Excess JEFFREY SCONCE 'Trashing' the Academy: Taste, Excess, and an Emerging Politics of Cinematic Style PETER WOLLEN Godard and Counter Cinema: Vent d'Est JERROLD LEVINSON Film Music and Narrative Agency V. The Film Artist ANDREW SARRIS Notes on the Auteur Theory in 1962 PETER WOLLEN, from Signs and Meaning in the Cinema The Auteur Theory RICHARD B. JEWELL How Howard Hanks Brought Baby Up: An Apologia for the Studio System ROLAND BARTHES The Face of Garbo JOHN ELLIS, from Visible Fictions Stars as Cinematic Phenomenon ROBERT C. ALLEN, from Film History: Theory and Practice The Role of the Star in Film History [Joan Crawford] MOLLY HASKELL, from From Reverence to Rape Female Stars of the 1940s MIRIAM HANSEN Pleasure, Ambivalence, Identification Valentino and Female Spectatorship THOMAS SCHATZ, from The Genius of the System Introduction VI. Film Genres LEO BRAUDY, from The World in a Frame Genre: The Conventions of Connection RICK ALTMAN A Semantic/Syntactic Approach to Film Genre Film Genre and the Genre Film ROBERT WARSHOW Movie Chronicle: The Westerner ROBIN WOOD Ideology, Genre, Auteur BRUCE KAWIN The Mummy's Pool LINDA WILLIAMS Film Bodies: Gender, Genre, and Excess CYNTHIA A. FREELAND Feminist Frameworks for Horror Films TANIA MODLESKI The Terror of Pleasure: The Contemporary Horror Film and Postmodern Theory DAVID BORDWELL The Art Cinema as a Mode of Film Practice VII. Film: Psychology, Society, and Ideology WALTER BENJAMIN The Work of Art in the Age of Mechanical Reproduction JEAN-LUC COMOLLI AND JEAN NARBONI Cinema/Ideology/Criticism CHRISTIAN METZ, from The Imaginary Signifier Identification, Mirror The Passion for Perceiving Fetishism, Disavowal TOM GUNNING An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator LAURA MULVEY Film and Visual Pleasure TANIA MODLESKI From The Women Who Knew Too Much: Hitchcock and Feminist Theory The Master's Dollhouse: Rear Window ROBERT STAM AND LOUISE SPENCE Colonialism, Racism, and Representation: An Introduction MANTHIA DIAWARA Black Spectatorship: Problems of Identification and Resistance JOHN BELTON Digital Cinema: A False Revolution ANNE FRIEDBERG The End of Cinema: Multi-Media and Technological Change Index

Sixth Edition Leo Braudy, Professor of English, University of Southern California, and Marshall Cohen, Professor of Philosophy and Law, Dean of Humanities, University of Southern California

(on previous editions) "Essential reading for the serious film student."--Jerry Allen White, University of Oklahoma