Doing Film Studies (Doing... Series)
Sarah Casey Benyahia
Format: PDF / Kindle (mobi) / ePub
Doing Film Studies examines what it really means to study film, encouraging the reader to question the dominant theories as well as understanding the key approaches to cinema. This book provides an overview of the construction of film studies - including its history and evolution - and examines the application of theories to film texts. Important questions discussed include:
- Why does film studies need a canon?
- What is the relationship between authorship and genre theory?
- What is screen theory?
- How do we read a film text?
- Why is the concept of the spectator important to film?
- How is film involved in national identity?
- What is meant by a ‘film industry’?
Aimed at students in their final year of secondary education or beginning their degrees, Doing Film Studies equips the reader with the tools needed in approaching the study of film.
useful and entertaining resource for the study of narrative. It contains extracts from his published works, as well as a series of blogs and discussions on a diverse range of ¿lms and narrative approaches. Thomas Elsaesser’s ‘The mind game ¿lm’ in W. Buckland (ed.) Puzzle Films: Complex Storytelling in Contemporary Film (Wiley-Blackwell, 2009) de¿nes the characteristics of the mind game ¿lm, considers the reasons for its emergence and popularity, and argues that it constitutes a different type of
Beginning Film Studies, Manchester University Press, Manchester Grainge, P., Jancovitch, M. and Monteith, S. (2007) Film Histories: An Introduction and Reader, Edinburgh University Press, Edinburgh Higson, A. (2006) ‘The limiting imagination of national cinema’, in E. Ezra and T. Rowden (eds) Transnational Cinema: The Film Reader, Routledge, London and New York, pp15–26 Stam, R. (2000) Film Theory: An Introduction, Blackwell, Malden, MA Thompson, K. and Bordwell, D. (1994) Film History: An
allow. This rejection of unifying explanations of the world was a way of articulating an increasingly uncertain existence in which established roles and behaviour – such as gender expectations, the make-up of the family, the role of religion – were rapidly changing. Previous theoretical and artistic movements, such as modernism and structuralism, had also acknowledged the chaos and fragmentation that living in the modern world entailed. For modernism, this was personi¿ed by the apparent ‘madness’
that has taken place in the decades since the 1960s. He argues that this break with classical ¿lm style happened so rapidly that it quickly became integrated within the dominant style and invisible to the viewer, but that it did change the previously dominant form: ‘Over time these stylistic experiments get absorbed, so that the ¿lm remains fully comprehensible according to traditional classical criteria of causality, coherence and continuity, while adopting a range of stylistic options which
with some arguing that these developments represent a signi¿cant transformation in ¿lm style and exhibition, while others contend that the ¿lm experience has remained fundamentally the same. One of the key areas of discussion has been over theories of realism and ¿lm, which have been fundamental to ¿lm studies as a discipline since the 1950s. In this period, the extremely inÀuential French critic André Bazin proposed that ¿lm’s status as an art form lay in its af¿nity for realism – that it is