Since the 1970s film studies has been dominated by a basic paradigm--the concept of classical Hollywood cinema--that is, the protagonist-driven narrative, valued for the way it achieves closure by neatly answering all of the enigmas it raises.
Since the 1970s film studies has been dominated by a basic paradigm--the concept of classical Hollywood cinema--that is, the protagonist-driven narrative, valued for the way it achieves closure by neatly answering all of the enigmas it raises.
Jane Gaines is Associate Professor of English and Literature and Director of the Film and Video Program at Duke University. She is the author of Contested Culture: The Image, the Voice, and the Law.
Inhaltsangabe
Introduction: The Family Melodrama of Classical Narrative Cinema/ Jane M. Gaines 1 Dickens, Griffith, and Film Theory Today/ Rick Altman 9 Form Wars: The Political Unconscious of Formalist Theory/ Bill Nichols 49 Film Response from Eye to I: The Kuleshov Experiement/ Norman N. Holland 79 Securing the Fictional Narrative as a Tale of the Historical Real: The Return of Martin Guerre/ Janet Staiger 107 Between Melodrama and Realism: Anthony Asquith's Underground and King Vidor's The Crowd/ Christine Gledhill 129 The Hieroglyph and the Whore: D.W. Griffith's Intolerance/ Miriam Hansen 169 The She-Man: Postmodern Bi-Sexed Performance in Film and Video/ Chris Straayer 203 Dead Ringer: Jacqueline Onassis and the Look-Alike/ Jane Gaines 227 Nostalgia for the Present/ Fredric Jameson 253 Reading Dynasty: Television and Reception Theory/ Jane Feuer 275 Dialogues of the Living Dead/ John O. Thompson 295 Image/ Machine/ Image: On the Use and Abuse of Marx and Metaphor in Television Theory/ Richard Dienst 313 Notes on Contributors 341 Index 345
Introduction: The Family Melodrama of Classical Narrative Cinema/ Jane M. Gaines 1 Dickens, Griffith, and Film Theory Today/ Rick Altman 9 Form Wars: The Political Unconscious of Formalist Theory/ Bill Nichols 49 Film Response from Eye to I: The Kuleshov Experiement/ Norman N. Holland 79 Securing the Fictional Narrative as a Tale of the Historical Real: The Return of Martin Guerre/ Janet Staiger 107 Between Melodrama and Realism: Anthony Asquith's Underground and King Vidor's The Crowd/ Christine Gledhill 129 The Hieroglyph and the Whore: D.W. Griffith's Intolerance/ Miriam Hansen 169 The She-Man: Postmodern Bi-Sexed Performance in Film and Video/ Chris Straayer 203 Dead Ringer: Jacqueline Onassis and the Look-Alike/ Jane Gaines 227 Nostalgia for the Present/ Fredric Jameson 253 Reading Dynasty: Television and Reception Theory/ Jane Feuer 275 Dialogues of the Living Dead/ John O. Thompson 295 Image/ Machine/ Image: On the Use and Abuse of Marx and Metaphor in Television Theory/ Richard Dienst 313 Notes on Contributors 341 Index 345
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