Film Theory: An Introduction

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Film Theory: An Introduction

Film Theory: An Introduction

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Attempting to go beyond the methodological limitations of the then-dominant paradigm of “positive image” and “negative stereotype” analysis, Stam argued for an approach that emphasized not social accuracy or characterological merits but rather issues such as perspective, address, focalization, mediation, and the filmic orchestration of discourses. Hitchcock and Buñuel: Authority, Desire and the Absurd," in Walter Raubicheck and Walter Srebnick, eds.

In 2003, Stam was honored at the Curitiba Film Festival for his "Noteworthy Service to Brazilian Cinema". Stam has published widely on French literature, comparative literature, and on film topics such as film history and film theory. Film Theory: An Introduction was published in tandem with two Blackwell anthologies co-edited with Toby Miller both from 2000: Film and Theory and A Companion to Film Theory. Contesting the monolingual and Anglo-Americano-centric approach to these issues, the book elaborates such concepts as “the seismic shift” provoked by the decolonization of culture, the radicalization of the academic disciplines, the philosophical centrality of indigenous thought, the “left/right” convergence on identity politics, and “inter-colonial narcissism. Francois Truffaut and Friends: Modernism, Sexuality, and Adaptation (Rutgers, 2006), meanwhile, explored the “transtextual diaspora” generated by a highly literary ménage-a-trois in the 1920s that led to the books and published journals of Henri-Pierre Roche, Franz Hessel and Helen Hessel, as well as three films by Truffaut based on the life and work of Roche ( Jules and Jim, Two Englishwomen, and The Man Who Loved Women).Race in Translation: Culture Wars Around the Postcolonial Atlantic (NYU, 2012), finally, dealt with the postwar debates about colonialism, postcoloniality, race, multiculture and Affirmative Action in three cultural zones—the U. Literature through Film: Realism, Magic, and the Art of Adaptation (Blackwell, 2005) offered a historicized account of key trends in the history of the novel – the proto-magic realism of a Cervantes, the colonialist realism of a Defoe (and his critics), the parodic reflexivity of a Henry Fielding or Machado de Assis, or proto-cinematic perspectivalism of a Flaubert, the neurotic narrators of a Dostoyevsky or a Nabokov, the feminist experimentations of Clarice Lispector and Marguerite Duras, and the “marvelous latin-american real” of Mario de Andrade and Alejo Carpentier, all as seen through the many filmic adaptations – both “faithful” and revisionist – of their work. Sissejuhatus juba rohkem kui sajandivanuse filmiteooria ajalukku ei saa ilmselgelt üks lihtne lugemine olla. Mobilizing Fictions: The Gulf War, the Media and the Recruitment of the Spectator," Public Culture Vol.

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Two anthologies co-edited with Alessandra Raengo (both published by Blackwell) fleshed out the project: Literature and Film: A Guide to the Theory and Practice of Adaptation (Blackwell, 2005), and Companion to Literature and Film (Blackwell, 2004). It is rooted (by its own admission) in the west and isn't always the snappiest read, but it gave me what I was looking for. It is suitable for students from any discipline but is particularly aimed at students studying film and literature as it examines issues common to both subjects such as realism, illusionism, narration, point of view, style, semiotics, psychoanalysis and multiculturalism. For a more comprehensive bibliography, see Toby Miller and Robert Stam (eds), Film and Theory (Oxford: Blackwell Publishers, 1999).geniş kapsamlı, dönemin felsefi ve politik eğilimleri ile sinema arasındaki bağlara ağırlık veren bir yerden ele alıyor. Stam has also been an advocate-exegete of semiotics, poststructuralism, and film theory in such books as New Vocabularies in Film Semiotics: Structuralism, Poststructuralism, and Beyond (Routledge, 1992) and Film Theory: An Introduction (Blackwell, 2000), the first book to recount the history of film theory from its beginnings to the present within a transnational framework that included Latin America, Africa and Asia alongside Europe and North America. The book combines two strands of work – an ambitious study of colonialist discourse and Eurocentrism – and a comprehensive and transnational study of cinematic texts related to those issues. Stam has authored, co-authored and edited some seventeen books on film and cultural theory, literature and film, national cinema (French and Brazilian), aesthetic and politics, intellectual history, and comparative race studies and postcolonial studies.



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