Film Theory: An Introduction through the Senses (2nd by Thomas Elsaesser, Malte Hagener

By Thomas Elsaesser, Malte Hagener

What's the dating among cinema and spectator? this is often the main query for movie concept, and one who Thomas Elsaesser and Malte Hagener placed on the middle in their insightful and fascinating publication, now revised from its renowned first version. all types of cinema (and each movie concept) first imagines a terrific spectator, after which maps yes dynamic interactions among the display and the spectator’s brain, physique and senses. utilizing seven distinct configurations of spectator and display that circulate steadily from ‘exterior’ to ‘interior’ relationships, the authors retrace an important levels of movie conception from its beginnings to the present—from neo-realist and modernist theories to psychoanalytic, ‘apparatus,’ phenomenological and cognitivist theories, and together with contemporary cross-overs with philosophy and neurology.

This new and up-to-date version of Film thought: An advent during the Senses has been broadly revised and rewritten all through, incorporating dialogue of latest movies like Her and Gravity, and together with a enormously extended ultimate bankruptcy, which brings movie thought totally into the electronic age.

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Additional info for Film Theory: An Introduction through the Senses (2nd Edition)

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Neorealism by definition rejects analysis, whether political, moral, psychological, logical, or social, of the characters and their actions. 37 This idea of reality as an “inseparable whole” is used by Bazin repeatedly and means that the things embraced by a film – the “fact,” as Bazin calls it – possess an ontological unity which film has to respect. The smallest unit of filmic construction is therefore not the shot or the scene (as Eisenstein or analytical montage Cinema as Window and Frame 31 would have it), a technical quantity derived from production, but the “fact,” a given and preexisting element which overrides technique and technology.

5 He emphasises that the fictional characters on the screen function as ‘Doppelgänger’ or doubles for the spectator; this, on the one hand, confers upon them the status of a projection interface through which one can enter the film, and on the other, it gives them an uncanny quality, as if these characters were the embodiment simultaneously of what is all-too-familiar and yet all-toofeared in ourselves – hence the pertinence and prominence of the ‘uncanny’ and the ‘return of the repressed’ (Freud) in certain film theories (as well as the renewed theoretical interest in the horror film).

See also the essays collected in David Desser and Garth S. ), Hollywood Goes Shopping (Minneapolis, MN: University of Minnesota Press, 2000). 51 One could cite here Jean Baudrillard’s simulacrum theory, according to which the (electronic) media produce copies without originals. Similarly, this strand of film theory posits that what film reveals is not an authentic reality but an artificial and constructed world of illusions. 52 The locus classicus for the conception of cinema as flanerie through imaginary (commodified) worlds can be found in a book which dates back to the climax of the postmodernism debate: Anne Friedberg, Window Shopping: Cinema and the Postmodern (Berkeley, CA: University of California Press, 1993).

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