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Film Theory and Criticism by
Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its seventh edition, this landmark text continues to offer outstanding coverage of more than acentury of thought and writing about movies. Incorporating classic texts by pioneers in film theory - including Rudolf Arnheim, Siegfried Kracauer, and Andre Bazin - and cutting-edge essays by such contemporary scholars as David Bordwell, Tania Modleski, Thomas Schatz, and Richard Dyer, the bookexamines both historical and theoretical viewpoints on the subject.Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and toexplore issues of gender and race. Reorganized into eight sections - each comprising the major field of critical controversy and analysis - this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever tostudents, film enthusiasts, and general readers alike. The seventh edition also integrates exciting new material on feminist theory, queer cinema, and global cinema, as well as a new section, 'Digitization and Globalization,' which engages important recent developments in technology and worldcinema.A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism.
American Film Institute Desk Reference by
The only source of movie history any fan will want to read. Presented by the American Film Institute, the nation's preeminent organization dedicated to advancing and preserving the art of the moving image, the American Film Institute Desk Reference is the most comprehensive reference book on filmmaking ever published. Providing detailed information on the world of film, its history and its personalities, this single volume is loaded with enough facts and trivia to satisfy any movie buff. Highlighting filmmakers and costume designers, financiers and actors, this complete guide is packed with more than 500 photographs and illustrations, a year by year chronology of film, and many special annotated lists, including the AFI's celebrated list of the 100 Best Films of the Past 100 Years.
The Film Encyclopedia
The New Biographical Dictionary of Film by
David Thomson's New Biographical Dictionary of Film topped Sight & Sound magazine's 2010 poll of international critics and writers as the best film book of all time. Now in its fifth edition, updated, and with more than 130 new entries--from Judd Apatow to Lena Horne--the classic, beloved film book is better than ever. For thirty-five years, David Thomson's Biographical Dictionary of Film has been "fiendishly seductive" (Greil Marcus, Rolling Stone), "the finest reference book ever written about movies" (Graham Fuller, Interview), and "not only an indispensable book about cinema, but one of the most absurdly ambitious literary achievements of our time" (Geoff Dyer, The Guardian). For this edition, Thomson has brought up to date and in some case recast the biographies, and has added new ones (Clive Owen, Scarlett Johansson, Jake Gyllenhaal, and Marion Cotillard, for example). The book now includes almost 1,500 entries, some of them just a pungent paragraph, some of them several thousand words long, every one a gem. Here is a great, rare book that encompasses the chaos of art, entertainment, money, vulgarity, and nonsense that we call the movies. Personal, opinionated, funny, daring, provocative, and passionate, it is the one book that every filmmaker and film buff must own, from the man David Hare called "the most stimulating and thoughtful film critic now writing."
Film Studies by
Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.
Studying Contemporary American Film by
What are the most appropriate theories and methods for analyzing contemporary America cinema? This book answers this question by taking an innovative approach to writing about individual movies: in each of the main chapters the authors examine the assumptions behind one traditional theory of film (e.g. auteurism, narratology, psychoanalysis), distil a method of analysis from it, and then analyze a contemporary American movie. They then go beyond the traditional theory by analyzing the same movie using a more current theory and method (e.g. new media theory, deconstruction, cognitivism).
