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The Oxford Guide to Film Studies
Edited by John Hill and Pamela Church Gibson
Consultant Editors: Richard Dyer, E. Ann Kaplan, and Paul Willemen
648 pages
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halftones
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246x189mm
978-0-19-871124-7
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Paperback
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05 February 1998
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- The most comprehensive and up-to-date critical guide to the study of film
Comprehensive, authoritative, and unique, The Oxford Guide to Film Studies is the up-to-date critical volume on the theories, debates, and approaches to the study of film. A host of international experts provide an overview of the main disciplinary approaches to film studies, an explanation of the main concepts and methods involved in film analysis, a survey of the main issues and debates in the study of film, and critical discussion of key areas.
The Guide features:
* Comprehensive coverage suitable for any course on
cinema or film studies
* Organized into three sections: Approaches; Hollywood and the World; World Cinema
* An emphasis throughout on critical concepts, methods, and debates
* Specially commissioned chapters on such varied topics as film music, the Hollywood Star System, and the idea of national cinema
* Coverage dedicated to important new areas in film studies: gay and lesbian criticism, postcolonial theory, audience studies, post-classical Hollywood cinema, and cultural studies
* Chapters discussing exciting new developments in classical topics, such as Early Hollywood Cinema, Film History, and the avant-garde
* Illustrated throughout,
and complete with `readings' designed to demonstrate the variety of theoretical approaches, chapter headings and summaries, guides to further reading, and `highlight' quotes
With its uniquely comprehensive coverage, The Oxford Guide to Film Studies is an indispensable aide and reference source for the student of film and media, and anyone interested in the study of cinema.Readership: Undergraduate at all levels, especially second and third years. Graduate and MA level, all film/media courses.
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Edited by John Hill, Senior Lecturer, Department of Media and Performance Studies, University of Ulster at Coleraine, and Pamela Church Gibson, Senior Lecturer in Contextual and Cultural Studies, The London Institute Consultant Editors: Richard Dyer, Department of Film Studies, University of Warwick, E. Ann Kaplan, Department of English, Stony Brook, New York, and Paul Willemen, Napier University, Edinburgh
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""One of the first things that strikes you about The Oxford Guide to Film Studies is the number of contributors, nearly 70 in all representing a fair cross-section of leading scholarship mainly (though not exclusively) from the United Kingdom and the United States. This is a great strength."" - The Times Higher Education Supplement, May 1999 ""Prominence is given to the politics of gender and sexuality, an accurate reflection of the balance of debates within the discipline over the past two decades at least."" - The Times Higher Education Supplement, May 1999 ""In its coverage of major theoretical issues, provides a sound introduction for undergraduate film-studies students and perhaps even more
usefully, for students on courses on which film is only a part."" - The Times Higher Education Supplement, May 1999 ""Featuring entries from most of the reigning luminaries in the field, this solid, exhaustive volume is possibly the best all-in-one guide currently available. The contributors supply skilful overviews of the major critical approaches, and there are a few surpises --- for instance, pornography is firmly ensconced as a respectable academic subject."" - Sight and Sound, May 1998 "substantial book that, particularly in its coverage of major theoretical issues, provides a sound introduction for undergraduate film-studies students and, perhaps even more usefully, for students on courses of which film is only a part." -
Steve Blandford, The Times Higher Education Supplement
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John Hill: General Introduction
PART ONE: CRITICAL APPROACHES
1: Richard Dyer: Introduction to Film Studies
STUDYING THE FILM TEXT
2: Robert Phillip Kolker: The Film Text and Film Form
3: Paul McDonald: Film Acting
4: Pamela Church Gibson: Film Costume
5: Claudia Gorbman: Film Music
THE FILM TEXT: THEORETICAL DEVELOPMENTS
6: Anthony Easthope: Classic Film Theory and Semiotics
7: Ian Christie: Formalism and Neo-formalism
8: Robert B Ray: Impressionism, Surrealism, and Film Theory
9: Barbara Creed: Film and Psychoanalysis
10: Peter Brunette: Post-Structuralism and Deconstruction
11: John Hill: Film and Postmodernism
FILM TEXT AND CONTEXT: GENDER, IDEOLOGY, AND IDENTITIES
12: Chuck Kleinhans: Marxism and Film
13: Patricia White: Feminism and Film
14: Anneke Smelik: Gay and Lesbian Criticism
15: Alexander Doty: Queer Theory
16: Laura Kipnis: Pornography
17: Robyn Wiegman: Race, Ethnicity, and Film
18: Ray Chow: Film and Cultural Identity
FILM TEXT AND CONTEXT: CULTURE, HISTORY, AND RECEPTION
19: Dudley Andrew: Film and History
20: Andrew Tudor: Sociology and Film
21: Graeme Turner: Cultural Studies and Film
22: Jostein Gripsrud: Film Audiences
23: Noel King: Hermeneutics, Reception Aesthetics, and Film Interpretation
PART TWO: AMERICAN CINEMA AND HOLLYWOOD: CRITICAL APPROACHES.
AMERICAN CINEMA: HISTORY, INDUSTRY, AND INTERPRETATION
1: John Belton: American Cinema and Film History
2: Duncan Petrie: History and Cinema Technology
3: Douglas Gomery: Hollywood as Industry
4: Tom Gunning: Early American Film
5: E. Ann Kaplan: Classical Hollywood Film and Melodrama
6: Peter ???: Post-classical Hollywood
CRITICAL CONCEPTS
7: Stephen Crofts: Authorship and Hollywood
8: Tom Ryall: Genre and Hollywood
9: Jeremy G. Butler: The Star System and Hollywood
POLITICS AND SOCIETY
10: Douglas Kellner: Hollywood Film and Society
11: Albert Moran: Film Policy: Hollywood and Beyond
12: Toby Miller: Hollywood and the World
PART THREE: WORLD CINEMA: CRITICAL APPROACHES
REDEFINING CINEMA: INTERNATIONAL AND AVANT-GARDE ALTERNATIVES
1: Stephen Crofts: Concepts of National Cinema
2: Murray Smith: Modernism and the Avante-Gardes
3: Ashish Rajadhyaksha: Realism, Modernism, and Post-Colonial
REDEFINING CINEMA: OTHER GENRES
4: John Izod & Richard Kilborn: The Documentary Film
5: Michael OPray: The Animated Film
EUROPEAN CINEMA
6: Ginette Vincendeau: Iss ues in European Cinema
CASE-STUDIES: MOVEMENTS, MOMENTS, AND FILMMAKERS
7: Ian Christie: The Avant-Gardes and European Cinema before 1930
8: Simona Monticelli: Italian Post-War Cinema and Neo-Realism
9: Jill Forbes: The French Nouvelle Vague
10: Ulrike Sieglohr: New German Cinema
11: Daniel Goulding: East-Central European Cinema
12: Armand Mattelart: European Film Policy and the Response to Hollywood
13: Directors and Stars
Keith Reader: (a) Jean Renoir
Chris Darke: (b) Ingmar Bergman
Cathy Fowler: (c) Chantal Akerman
José Arroyo: (d) Pedro Almodóvar
Susan Hayward: (e) Luc Besson
(f) Brigitte Bardot: A Star Case Study: Ginette Vincendeau:
ANGLOPHONE NATIONAL CINEMAS
CASE-STUDIES
14: Andrew Higson: British Cinema
15: Martin McLoone: Ireland and Cinema
16: Elizabeth Jacka: Australian Cinema
17: Will Straw: Canadian Cinema
WORLD CINEMA
18: Wimal Dissanayake: Issues in World Cinema
CASE-STUDIES: CINEMAS OF THE WORLD
19: Ashish Rajadhyaksha: Indian Cinema
20: Berenice Reynaud: Chinese Cinema
21(a): Stephen Teo: Hong Kong Cinema: Discovery and Pre-Discovery
21(b): N. K. Leung: China, and 1997
22: Kuan-Hsing Chen: Taiwanese New Cinema
23: Freda Freiberg: Japanese Cinema
24 Zc African Cinema: N. Frank Ukadike:
25: Julianne Burton-Carvajal: South American Cinema
FILM IN A CHANGING AGE
26: Laura Kipnis: Film and Changing Technologies
27: John Hill: Film and Television
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