Film Studies (Pocket Essential series)

Film Studies (Pocket Essential series)

Andrew M. Butler

Language: English

Pages: 160

ISBN: 1904048439

Format: PDF / Kindle (mobi) / ePub

Pocket Essentials is a dynamic series of books that are concise, lively, and easy to read. Packed with facts as well as expert opinions, each book has all the key information you need to know about such popular topics as film, television, cult fiction, history, and more. This book offers a concise introduction to the appreciation and study of film. It begins with the nuts and bolts, an examination of how films are put together—framing, performance, setting, costume and editing—and then examines a number of approaches taken to film over the last half century, such as the auteur theory, structuralism, psychoanalysis, feminism, queer theory, and more. Applying these theories to films everyone will have seen, such as The Usual Suspects and Seven, the book also includes an overview of genres, national cinemas, and film movements worldwide.

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precisely we can locate an auteur. Peter Wollen: Auteur Structuralism In his book Signs And Meaning In The Cinema (1969), the British critic Peter Wollen formalises this position of the identity of a director being constructed by the viewer, by applying structuralist or semiotic theory. This is a topic to which we will return in Chapter 5. Wollen points out that the impact of American cinema on postwar France was exaggerated because it was so much a breath of fresh air after the limitations of

squared off with the father, can only hope to find power and happiness by finding a woman to replace his mother. This process is all part of the Oedipus complex, which Freud draws from the Greek myth of the man who married his mother and killed his father. The trajectory of the female is much more controversial; Freud quickly rubbished the Electra complex – which attempted to reverse the sexes – but never quite settled on his own explanation.The female child is still in this Oedipal relationship

11:36 am Page 86 ANDREW M. BUTLER Representation Of Inequalities Films seem to represent the wider notion of culture that women only really have an existence in relation to men – at worst they are the property of their fathers until they marry, when they become property of their husbands. Women’s interests are often deemed too peripheral, too provincial or too domestic to be of interest in a film. Meanwhile, a large number of narratives have women as backdrop to the main business. Even

book Stargazing, she researched the feelings that British women had for American female stars of the 1940s and 1950s, as expressed in fan letters, membership of fan clubs, or questionnaires and surveys. Stacey divides audience reactions into two broad types: within and outside the cinema. This appreciation within the context of watching a film in a cinema might be shown in the form of devotion from a distance, an unalloyed appreciation of the female star’s appearance and actions, which need not

5/4/05 11:36 am Page 131 FILM STUDIES scape. Thanks to the dictatorial rule of General Francisco Franco from 1936 to 1975 there were strict limitations on what kinds of films were allowed to be made, and unlike many film-producing countries there were no film schools to train directors. In the years after Franco’s death rules relaxed so much in Spain that it is now arguably the most liberal country in Europe. Pedro Almodóvar was ideally placed to take advantage of the new morality and made

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