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ePub Subjectivity: Filmic Representation and the Spectator's Experience (European Film Studies - Key Debates) download

by Dominique Chateau

ePub Subjectivity: Filmic Representation and the Spectator's Experience (European Film Studies - Key Debates) download
Author:
Dominique Chateau
ISBN13:
978-9089643179
ISBN:
9089643176
Language:
Publisher:
Amsterdam University Press; Reprint edition (February 29, 2012)
Category:
Subcategory:
Movies
ePub file:
1530 kb
Fb2 file:
1154 kb
Other formats:
mobi lrf txt lit
Rating:
4.6
Votes:
673

Start by marking Subjectivity: Filmic Representation and the Spectator's Experience as Want to Read: Want to Read savin. ant to Read. The subjective camera allows for the audience to experience film in a wholly different way, manipulating or enriching viewers and forcing them to engage with film as a medium. Subjectivity advances the debate over its role in the history, phi With the rise of French and Italian New Wave cinema, the concept of subjectivity came to the forefront of film criticism and theory.

European Film Studies-Key Debates. A book on spectator, today, is a challenge - if not a provocation. Cinema is relocating on new devices and in new environments: in its migration, it asks us to change our habits and our attitudes. Are we still spectators - or are we users, surfers, nostalgic buffs, technology experts, hackers and face-book friends? This book provides a deep insight in such a controversial situation, both at the theoretical and empirical level - retracing a history and facing a destiny.

Subjectivity is a central concept in film theory, philosophy and cultural studies. It was also a key term in the reception of the Nouvelle Vague film movement in France and Italy from the start of 1945. Contributors to this timely study include Francesco Casetti, Gregory Currie, Marina Grzinic, Maria Klonaris and Katerina Thomadaki, Jacinto Lageira, José Moure, Pere Salabert, Céline Scemama, Karl Sierek, Vivian Sobchack, and Pierre Taminiaux. Their illuminating essays are a testimony to their profound involvement in the subjectivity debate, enriching our perception of film history and our understanding of the medium.

The book concludes with an analysis of the emotional structures of comic fiction .

The book concludes with an analysis of the emotional structures of comic fiction, metafiction, crime fiction, horror, and melodrama. It is unique in describing a wide range of problems and issues within film studies, from a cognitive, neurophysiological, and ecological point of view. Raises issues involved in the study and teaching of narrative, with reference to both literature and film. This article traces pivotal developments in the history of first-person filmic narration and subjective camera technique as the principal elements of filmic autobiography.

Subjectivity is a central philosophical concept, related to consciousness, agency, personhood, reality, and truth, which has been variously defined by sources. Three common definitions include that subjectivity is the quality or condition of: Something being a subject, narrowly meaning an individual who possesses conscious experiences, such as perspectives, feelings, beliefs, and desires.

During the seventeenth and eighteenth centuries, France became famous - notorious even - across Europe for its ambitious attempts to codify and theorise a system of universally valid dramatic rules. So fundamental and formative was this classical conception of drama that it still underpins our modern conception of theatre today.

Screens (The Key Debates:. has been added to your Cart. Dominique Chateau and José Moure teach film studies at the University of Paris I Panthéon-Sorbonne. Series: The Key Debates: Mutations and Appropriations in European Film Studies (Book 6). Paperback: 358 pages. Publisher: Amsterdam University Press (June 13, 2016). It was also a key term in the reception of the Nouvelle Vague film movement in France and Italy from the start of 1945 Full description.

Feminist film theory addressing black women’s representation in film has . The debates and discussions have become more complicated over the years.

Feminist film theory addressing black women’s representation in film has steadily developed a series of subject positions that challenge the dominant assumptions of Anglo/Euro feminist film theory. The feminist critical practice by which we designate some filmic and critical work as feminist, and others as black feminist, has preserved the occult ² status of black women as subjects in academic. My studies tend to rely on serendipity and an openness to new encounters with creative expression, in examples that are rarely constricted by singularities of form and categories of scholarly discipline.

With the rise of French and Italian New Wave cinema, the concept of subjectivity came to the forefront of film criticism and theory. The subjective camera allows for the audience to experience film in a wholly different way, manipulating or enriching viewers and forcing them to engage with film as a medium. Subjectivity advances the debate over its role in the history, philosophy, and culture of cinema. This engaging, multifaceted study of a single, controversial concept addresses the New Wave movement and also expands its focus to include a variety of genres within the rapidly changing medium of film. With a diverse array of contributors including Vivian Sobchack, Francesco Casetti, Laura Marcus, Jose Moure, and many other prominent film theorists, this engaging collection of essays both challenges and enhances our understanding of film history. Subjectivity is essential reading for film scholars, media theorists, and fans of the French and Italian new wave.