The Oxford Handbook of Film Theory
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The Oxford Handbook of Film Theory by Kyle Stevens
Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what a movie or the cinematic are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.
Stevens has done the field a great service in prompting and gathering such a rich collection of essays* Dominic Lash, Year's Work in Critical and Cultural Theory *
This collection provides an excellent snapshot of the state of film theory in the wake of the collapse of so-called grand theory grounded in poststructuralism, psychoanalysis, Marxism, and semiotics...Recommended. Upper-division undergraduates through faculty; professionals. * J. Belton, Choice *
This collection provides an excellent snapshot of the state of film theory in the wake of the collapse of so-called grand theory grounded in poststructuralism, psychoanalysis, Marxism, and semiotics; the waning of post-theory with its focus on film philosophy; and short-lived debates surrounding indexicality in the digital cinema era. * Choice *
Clearly shows the purpose and value of film theory, beginning with classical, formative discussions and entering contemporary debates, not only proving theory's lasting relevance but also possibility for continued sustainability. Volumes like Stevens' reinvigorate the discipline, for sure. * Erica Tortolani, Jump Cut *
This collection provides an excellent snapshot of the state of film theory in the wake of the collapse of so-called grand theory grounded in poststructuralism, psychoanalysis, Marxism, and semiotics...Recommended. Upper-division undergraduates through faculty; professionals. * J. Belton, Choice *
This collection provides an excellent snapshot of the state of film theory in the wake of the collapse of so-called grand theory grounded in poststructuralism, psychoanalysis, Marxism, and semiotics; the waning of post-theory with its focus on film philosophy; and short-lived debates surrounding indexicality in the digital cinema era. * Choice *
Clearly shows the purpose and value of film theory, beginning with classical, formative discussions and entering contemporary debates, not only proving theory's lasting relevance but also possibility for continued sustainability. Volumes like Stevens' reinvigorate the discipline, for sure. * Erica Tortolani, Jump Cut *
Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections.
| SKU | Unavailable |
| ISBN 13 | 9780190873929 |
| ISBN 10 | 0190873922 |
| Title | The Oxford Handbook of Film Theory |
| Author | Kyle Stevens |
| Series | Oxford Handbooks Series |
| Condition | Unavailable |
| Binding Type | Hardback |
| Publisher | Oxford University Press Inc |
| Year published | 2022-11-15 |
| Number of pages | 712 |
| Cover note | Book picture is for illustrative purposes only, actual binding, cover or edition may vary. |
| Note | Unavailable |