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
