The Film Studies Reader

388 Pages·2000·16.504 MB·English

by  Mark Jancovich (Editor), Joanne Hollows (Editor), Peter Hutchings (Editor)

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THE
FILM STUDIES READER
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THE
FILM STUDIES
READER
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Edited by
Joanne Hollows
Senior Lecturer in Media and Cultural Studies,
Nottingham Trent University
Peter Hutchings
Senior Lecturer in Film Studies, University of Northumbria
and
Mark Jancovich
Director of the Institute of Film Studies, University of Nottingham
ARNOLD
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CONTENTS
Preface ix
Acknowledgements xi
Section One: Political Economy and Mass Culture Theory
Editors' Introduction 1
1 Theodor W. Adorno and Max Horkheimer, The Culture
Industry: Enlightenment as Mass Deception' 7
From: Dialectic of Enlightenment, pp. 120-67. London: Verso (1979)
2 Dwight Macdonald, 'A Theory of Mass Culture' 12
From: Mass Culture: The Popular Arts in America edited by Bernard
Rosenberg and David Manning White, pp. 59-73. New York: Macmillan
Publishing Co. Inc. (1964)
3 Nicholas Garnham, 'Concepts of Culture: Public Policy
and the Cultural Industries' 19
From: Cultural Studies 1(1), 23-37 (1987)
4 Eileen R. Meehan,' "Holy Commodity Fetish, Batman!" ':
The Political Economy of a Commercial Intertext 23
From: The Many Lives of Batman edited by Roberta Pearson and
William Uricchio, pp. 47-65. New York: Routledge (1991)
5 Janet Wasko, 'Hooray for Hollywood: Moving into the
Twenty-First Century' 33
From: Hollywood in the Information Age, pp. 241-54. Cambridge:
Polity Press (1994)
Section Two: Film and Authorship
Editors' Introduction 45
6 ThoroldDickinson, 'The Filmwright and the Audience' 53
From: Sight and Sound 19(1), 20-5 (1950)
7 Howard Koch, A Playwright Looks at the "Filmwright" ' 55
From: Sight and Sound 19(5), 210-14 (1950)
8 Frangois Truffaut, 'A Certain Tendency of the French Cinema' 58
From: Cahiers du Cinema in English 1, 30-40 (1966)
9 Ian Cameron, 'Films, Directors and Critics' 63
From: Movie 2,4-7 (1962)
vi Contents
10 Andrew Sarris, 'Notes on the Auteur Theory in 1962'
From: Film Culture 27, 1-8 (1962/63)
11 Peter Wo/len, The Auteur Theory'
From: Signs and Meanings in the Cinema, 3rd edn, pp. 74-115. London:
Martin Seeker and Warburg Limited (1972)
12 Robin Wood, 'Hawks de-Wollenized'
From: Personal Views, pp. 193-206. London: Gordon Fraser (1976)
Section Three: Genre Criticism
Editors' Introduction
13 Jim Kitses, 'Authorship and Genre: Notes on the Western'
From: Horizons West, pp. 7-27. London: Thames and Fludson Limited (1969)
£i
14 Andrew Tudor, 'Critical Method ... Genre'
From: Theories of Film, pp. 116-52. London: Martin Seeker and Warburg
Limited (1974)
15 Steve Neale, 'Extract from Genre'
From: Genre, pp. 49-55. London: British Film Institute (1980)
16 Christine Geraghty, 'The Woman's Film'
From: 'Utopian Possibilities' in Women and Soap Opera, pp. 107-30.
Cambridge: Polity Press (1991)
17 James Naremore, 'American Film Noir: The History of an Idea'
From: Film Quarterly 49(2), 12-28 (1995/96)
Section Four: Star Studies
Editors' Introduction
18 Richard Dyer, 'Stars as Images'
From: Stars, pp. 68-72. London: British Film Institute (1979)
19 Richard Dyer, 'Stars and "Character" '
From: Stars, pp. 142-9. London: British Film Institute (1979)
20 Richard Dyer, 'Living Stars'
From: Heavenly Bodies - Film Stars and Society, pp. 8-16. London:
Macmillan Press (1986)
21 Maria LaPlace, 'Stars and the Star System:
The Case of Bette Davis'
From: 'Producing and Consuming the Woman's Film' in Home is Where the
Heart Is edited by Christine Gledhill, pp. 138-66. London: British Film
Institute (1987)
22 Steven Cohan, 'Cary Grant in the Fifties: Indiscretions
of the Bachelor's Masquerade'
From: Screen 33(4), 394-412 (1992)
23 Jackie Stacey, 'Feminine Fascinations: Forms of Identification
in Star-Audience Relations'
From: Stardom edited by Christine Gledhill, pp. 141-63. London:
Routledge (1991)
Contents vii
Section Five: The Historical Poetics of Cinema
Editors' Introduction 155
24 Tom Gunning, The Cinema of Attractions: Early Film,
Its Spectator and the Avant-Garde' 161
From: Wide Angle 3, 56-62 (1986)
25 Richard Maltby, The Classical Hollywood Cinema' 166
From: Hollywood Cinema: An Introduction, pp. 6-17. Oxford: Blackwell
Publishers (1995)
26 Peter Kramer, 'Post-Classical Hollywood' 174
From: The Oxford Guide to Film Studies edited by John Hill and Pamela
Church, pp. 289-309. Oxford: Oxford University Press (1998)
27 Janet Staiger, 'Taboos and Totems: Cultural Meanings of
The Silence of the Lambs' 181
From: Film Theory Goes to the Movies edited by Jim Collins, Hilary Radner
and Ava Preacher Collins, pp. 142-54. New York: Routledge (1993)
Section Six: Screen Theory I: From Marxism to Psychoanalysis
Editors' Introduction 189
28 Jean-Luc Comolli and Paul Narboni, 'Cinema/Ideology/
Criticism' 197
From: Screen 12, 27-36 (1971)
29 Colin MacCabe, 'Realism and the Cinema: Notes on Some
Brechtian Theses' 201
From: Screen 15(2), 7-27 (1974)
30 John Hill, 'Narrative and Realism' 206
From: Sex, Class and Realism, pp. 53-66. London: British Film Institute (1986)
31 Christian Metz, 'The Imaginary Signified 213
From: Screen 16(2), 14-76 (1975)
32 Daniel Dayan, The Tutor-Code of Classical Cinema' 219
From: Film Quarterly 28, 22-31 (1974)
Section Seven: Screen Theory II: Psychoanalysis, Feminism
and Film
227
Editors' Introduction
33 Pam Cook and Claire Johnston, 'The Place of Woman
233
in the Cinema of Raoul Walsh'
From: Raoul Walsh edited by Phil Hardy, pp. 93-10. Edinburgh:
Edinburgh Film Festival (1974)
34 Laura Mu/vey, 'Visual Pleasure and Narrative Cinema' 238
From: Screen 16(3), 6-18 (1975)
35 Mary Ann Doane, 'Film and the Masquerade:
248
Theorizing the Female Spectator
From: Femmes Fatales: Feminism, Film Theory, Psychoanalysis,
pp. 17-32. London: Routledge (1991)
viii Contents
36 Carol J. Clover, 'Her Body, Himself' 256
From: Men, Women and Chainsaws: Gender in the Modern Horror Movie,
pp. 21-64. London: British Film Institute (1992)
Section Eight: Cultural Studies
Editors' Introduction 265
37 lain Chambers, 'Gramsci Goes to Hollywood' 271
From: Border Dialogues, pp. 40-5. London: Routledge (1990)
38 David Mor/ey, 'Texts, Readers, Subjects' 274
From: Culture, Media, Language edited by Stuart Hall, Dorothy Hobson,
Andrew Lowe and Paul Willis, pp. 163-76. London: Hutchinson & Co
(Publishers) Ltd
39 Marie Gillespie, 'Technology and Tradition: Audio-Visual
Culture among South Asian Families in West London' 282
From: Cultural Studies 3(2), 226-39 (1989)
40 Charlotte Brunsdon, 'Post-Feminism and Shopping Films' 289
From: Screen Tastes, pp. 81-102. London: Routledge (1997)
41 Barbara Klinger, 'Film History Terminable and Interminable:
Recovering the Past in Reception Studies' v 299
From: Screen 38(2), 107-28 (1997)
Section Nine: Theorizing Differences
Editors' Introduction 309
42 Robert Stam and Louise Spence, 'Colonialism, Racism and
Representation': An Introduction 315
From: Screen 24(2), 2-20 (1983)
43 Jane Gaines, 'White Privilege and Looking Relations: Race and
Gender in Feminist Film Theory' 322
From: Screen 29(4), 12-27 (1988)
44 Robyn Wiegman, 'Feminism, "The Boyz" and Other Matters
Regarding the Male' 329
From: Screening the Male edited by Steven Cohan and Ina Rae Hark,
pp. 173-93. London: Routledge (1993)
45 Alexander Doty, 'There's Something Queer Here' 337
From: Making Things Perfectly Queer: Interpreting Mass Culture, pp. 1-16.
Minneapolis: University of Minnesota Press (1993)
46 Tamsin Wilton, 'On Not Being Lady Macbeth: Some (Troubled)
Thoughts on Lesbian Spectatorship' 347
From: Immortal, Invisible: Lesbians and the Moving Image edited by
Tamsin Wilton, pp. 143-62 London: Routledge (1995)
Index
357