Cinema spectatorship theory pdf • Copycat theory. Feb 1, 2022 · Request PDF | On Feb 1, 2022, Aaron Gerow published COLONIAL-ERA FILM THEORY, SPECTATORSHIP, AND THE PROBLEM OF INTERNALIZATION | Find, read and cite all the research you need on ResearchGate When so much of the study of cinema has been devoted to questions of spectators and audiences – for Screen Theory, yes, but also for movements that have claimed to supplant Screen Theory, such as cognitivism, cultural studies and the various modes of reception theory – Deleuze’s failure to have a theory of spectatorship places him quite 1. Sep 21, 2023 · Chapter 5 takes us from films portraying spectators to metaleptical fantasies of escaping or crossing over into the fictional world and, finally, to allegories of film spectatorship. 222 Pages, 22 b&w illus. ) was the closest art form to dreaming. Early attempts to incorporate the reader posited an ideal spectator constructed by the text, but this model has been complicated by the addition This is the first major collection of criticism on Black American cinema. Against the pedagogical forms of film theory and the authoritarian framing Jun 18, 2008 · PDF | This chapter is divided into four sections: 1. Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. 1. Active and Passive Spectatorship. While 1970s film theory insisted on a distinction betweeen the cinematic subject and film-goers, Judith Mayne suggests that a very real friction between "subjects" and "viewers" is in fact central to the study of spectatorship. This perspective considers Thagard’s (2000) notion of ‘striving for coherence’ as the most appropriate description of spectators’ mental dispositions toward feature films; it regards Fauconnier & Turner’s (2002) theory of Mental Spaces and Conceptual Blending as the most comprehensive account Theories of Masculinity, Cinema, Spectatorship and the Jealous Gaze Psychoanalytic studies of the cinema suggest that, once sitting still and quiet in the darkened auditorium, the spectator is lulled into a state close to dreaming. An important intervention into spectatorship theory that brings whiteness and race into sharp focus. 9 Part I THEORIES OF SPECTATORSHIP 1 THE SUBJECT OF SPECTATORSHIP In a majorsynthesis of theories of film spectatorship, Judith Mayne argues that much of film theory stems from two equally "extremepositions"-either a version of "apparatus"theory in which the viewer is seen as fully determinedby the narrativefilm, or a reconsideration that sees viewers as active and resisting consumersof films. It reflects the way in which film theory's preoccupation with spectatorship has revolved around an engagement with modes of seeing and telling, hearing and listening, not only in terms of how films are structured, but also in terms of how film-goers imagine themselves in relation to the cinema. This perspective considers Thagard's (2000) notion of 'striving for coherence' as the most appropriate description of spectators' mental dispositions toward feature films; it regards Fauconnier & Turner's (2002) theory of Mental Spaces and Conceptual Blending as the most comprehensive account of human This article examines how the body of films commonly described as “slow cinema” require the film theater for their spectatorial contract to be fully met, an aspect illustrated by recent durational films that focus on the theatrical experience as a theme in its own right. First Published 2013. The Critical Audience Works Cited The general theory of the film spectator presented here fits broadly within the “cognitivist” paradigm of film studies and takes the following assertions as true: ♦ Film spectatorship—or at least the most interesting aspects of it—is a conscious activity (Currie 1999): making sense of film is significantly the same as making sense of Dec 29, 2024 · In film studies, the activity or condition of viewing a film. Understanding POV editing 3. The Subject of Spectatorship 2. Then, one's enjoyment of a film wherein representations of blackness were stereotypically degrading and dehumanizing co-existed with a critical practice that. (1986). this theory proposes is a literal displacement of the cinematic from the theater onto its surrounding space, a "portability" of the film experience itself whose conduit and motor is the public-ity system. Published by: Indiana University Press. The study of spectatorship in film theory has always involved some complicated negotiations of “subjects” and “viewers,” despite claims that the two are incompatible terms. IN PLANE SIGHT: THEORIES OF FILM SPECTATORSHIP AND ANIMATION BY ERIN C. In this chapter I review six contributions to the field of film theory published in 2018: Carl Plantinga's Screen Stories: Emotion and the Ethics of Engagement (Oxford University Press); Miklós Kiss and Steven Willemsen’s Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh University Press); Nicholas The Repression of Class in Film and Cultural Studies 182 David James V Contents 12 Culture Industries 202 Douglas Kellner 13 The Political Economy of Film 221 Janet Wasko 14 The Work of Theory in the Age of Digital Transformation 234 Henry Jenkins 15 Cultural Exchange 262 Tom O’Regan 16 Shooting Back: From Ethnographic Film to Indigenous Oct 25, 2017 · Media platforms continually evolve, but the issues surrounding media representations of gender and sexuality have persisted across decades. On cinematic subject and actual film viewers, interest in spectatorship in film studies has been characterized by a very real friction between “subjects” and “viewers”. tice of spectatorship. Textual Analysis and Portraits of Spectatorship 6. Laura Mulvey said that the darkness of the cinema creates a sense of privacy and alleviates the guilt of taking voyeuristic pleasure at watching. Many Feb 3, 2020 · Stuart hall’s Reception Theory moves away from the previous two theories regarding passive audience spectatorship in film, turning towards ideas of active spectatorship and audience involvement in the media. Chair: Catherine Lee Preston Member 2 Joshua D. Paperback; 9780253064509; Sep 1, 2014 · Abstract. unc. Apr 1, 2016 · [Show full abstract] Feminist film theory as a field of inquiry was also revolutionized by theories of spectatorship, of stardom, and of genres, and became more attentive to the intersectionality Sep 1, 2014 · My argument will serve as a step towards a more comprehensive theory and phenomenology of collective spectatorship at the movies, an aspect undervalued in the history of film theory. Character psychology and mental attribution 5. by Slava Greenberg. Highlights the significance of extreme cinema for film theory, genre theory, and film history; Links the study of film theories of the senses to film genre theory, establishing new parallels between Linda Williams’s “body genres” and contemporary iterations of them, with particular attention paid to the burgeoning field of pornography studies JSTOR is a digital library of academic journals, books, and primary sources. Article/Chapter can not be printed. Spectatorrship Reconsidered 4. The case for a psychological theory of cinema. June 2008; The Year s Work in Critical and Cultural Theory Nov 12, 2017 · Request PDF | Reframing Spectatorship Theory with Extreme Cinema | This chapter transitions to the body of the spectator, not in terms of how he or she is affected by the films but in order to Nov 12, 2017 · In my efforts to define and locate the film experience of Fat Girl and Sex is Comedy, a theory of spectatorship must include the inner reality of the spectator, the relationship between perceiver and world, their co-constitution, the apparatus, the co-constitution of viewer and film, haptic visuality as just outlined, and finally, the memory of film before (or so) bears to the films that follow, and the way a taking account of this heterogeneity signals a new conception of film history and film form. Without addressing the individuality of this spectator, the theory generalizing spectatorship Diawara have expanded spectator theory to theorize how people who do not fit the prescribed definition of a spectator work out ways of viewing movies. Dec 10, 2007 · PDF | On Dec 10, 2007, Richard Allen published Psychoanalytic Film Theory | Find, read and cite all the research you need on ResearchGate. Zhou is well aware that her study is historically and geographically situated and that it should not lead to overgeneralized and deterritorialized conclusions. The first, usually made in relation to fictions rendered in classically diegetic me-dia-written or spoken fictions-argues that our emotional responses to fictions are to be Nov 12, 2017 · In my efforts to define and locate the film experience of Fat Girl and Sex is Comedy, a theory of spectatorship must include the inner reality of the spectator, the relationship between perceiver and world, their co-constitution, the apparatus, the co-constitution of viewer and film, haptic visuality as just outlined, and finally, the memory of film before (or so) bears to the films that follow, and the way a taking account of this heterogeneity signals a new conception of film history and film form. In the book's first section Mayne Dec 3, 1991 · Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Jun 4, 2011 · If much cinema and theory of the sixties and seventies made the viewer aware of the construction of the image, and thus utilised Brechtian distancing, are more recent filmmakers also interested in estrangement effects, but offering them within an art work that is at the same time very interested in manipulating the viewer’s feelings? Combining Jacques Rancière’s emancipated spectator with Judith Butler’s queer theory of subjectivity, Spectatorship and Film Theory foregrounds the contingent, embodied and dialogic aspects of our experience of film. 4 In the late 1980s Animated Film and Disability Cripping Spectatorship. Sep 1, 2014 · This essay suggests that collectively watching a film with quiet attention should be considered a kind of joint action. Like literary theory and criticism, film theory has moved from a notion of meaning immanent in the text to a concern with the interaction between text and spectator as the site of meaning production. Spectatorship Spectatorship is a somewhat contentious category in film theory and film studies. necessary feature of film spectatorship (1995). Jul 1, 2016 · 1. a Film Theory and spectatorship in the age of the posts - Free download as PDF File (. Introduction: rethinking Third Cinema 1 ANTHONY R. In Sep 11, 2023 · Judith Mayne, “Feminist Film Theory and Criticism,” Signs 11, no. Most notably, cinematic enunciation theory has not been able to coherently translate from literature to film one of literary enunciation theory's most basic components: the enonce, the utterance itself. Maintaining that these premises ignore the material and cultural-historical situations of In this article I propose to rethink spectatorship as analytic category within cinema studies. Globalized Spectatorship: Ring Around the Superflat Global Village: J-Horror Between Japan and America4. Spectatorship as Institution 3. Theory, and film theory above all theories, is often conceived at once as an act of observation and as an act of detachment. By offering an all-encompassing consideration of film stardom, spectatorship, genre, and the social impact of film, Bisch was extraordinarily early to conceive of psychoanalysis as “the key to an understanding of [cinema’s] basis and its functioning”—a view that became vital half a century later in institutionalized film studies. D’Aloia exemplifies graphically the ‘as if ’ experience in film spectatorship by contrasting the reaction of spectators within a film who witness an acrobat falling with the reaction of spectators in the cinema; whereas the former jump up in horror, the latter remain seated – perhaps also horrified, but viewing the event ‘as if Metz’s Lacanian account of film spectatorship and Laura Mulvey’s account of the structure of cinema as grounded in male voyeurism are two very prominent and influential psychoanalytic interventions in film theory, but the interactions between the two fields has been long-standing, extensive, varied and deep. In this essay, I shall offer a historical overview of cognitive approaches to film, before putting forward what to cognitive film theory might be an ‘heretical’ argument, in that I shall try to find ways in which cognitive film theory can work with, rather than against, more ‘classical’ film theory in order to enrich our understanding of cinema. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. A Feminine Language in Cinema, 2011. The concept of active and passive spectatorship addresses the level of audience engagement with a film. Oxford: Oxford University Press, 2022. Throughout the twentieth century, narrative cinema has been dominated by images of male heroes and stories structured from a male point of view (Cohan and Hark, 1993; 6 Film Semiotics 7 Cognitivism 8 Psychoanalytic Film Theory 9 Spectatorship and Subjectivity 10 Laura Mulvey Meets Catherine Tramell Meets the She-Man: Counter-History, Reclamation, and Incongruity in Lesbian, Gay, and Queer Film and Media Criticism 11 Is There Class in this Text?: The Repression of Class in Film and Cultural Studies considerations arise which may, after all, reinforce feminist film theory's more "universalist" tendencies. The essay calls for further exploration into female spectatorship and the complexities of women's visual engagement with film, indicating that earlier feminist analyses may Sep 7, 2023 · The Spectatorship Theory studies the interactions between the characters in Hindi film and the viewers who watch them through the lens of cult ural identities, stereotypes, gender ide ntity, and Cine-Ethics This volume looks at the significance and range of ethical questions that pertain to various film practices. GUNERATNE PARTI Third Cinema theory and beyond 29 1 Beyond Third Cinema: the aesthetics of hybridity 31 ROBERT STAM PART II Challenging Third World legacies: issues of gender, culture, and representation 49 2 Post-Third-Worldist culture: gender, nation, and the cinema 51 ELLA SHOHAT Sep 1, 2012 · PDF | This essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. ” Screen, 29(4): 12–27. 6 * Film Theory. This Dec 19, 2019 · Film theory : an introduction by Stam, Robert, 1941-Publication date 2000 Topics Motion pictures -- Philosophy Publisher Malden, Mass : Blackwell Collection 'Rhetoric and Representation in Non-Fiction Film,' British Journal of Aesthetics, 2001, 41 (2): 222–225. • Active spectatorship -when the audience bring theirown interpretation to the subjectivity. This work examined the cinematic institution as an ideological apparatus and was informed by the psychoanalytic work of both Sigmund Freud and Jacques Lacan as “reading” the film itself. Inspired by his background in linguistics (in light of his doctorat d’etat, Metz taught a course in general linguistics (1966–69) at the Ecole des HautesEtudes en Sciences Sociales before teaching film theory), Metz began to investigate film in light of Saussure’s work on language – especially in terms of the categories of (in French) langage (language in The study of spectatorship in film theory has always involved some complicated negotiations of “subjects” and “viewers,” despite claims that the two are incompatible terms. Jan 1, 2018 · This book interrogates the relation between film spectatorship and film theory in order to criticise some of the disciplinary and authoritarian assumptions of 1970s apparatus theory, without In the use of a spectator to formulate film theory, theorists have inadvertently made spectatorship a subjective experience rather than a universal one. ii Abstract This dissertation undertakes to assess the pertinence of established theories of cinematic spectatorship to understanding viewers’ perception of animation, particularly cel and other Feb 7, 1994 · In a historical investigation of the pleasures of cinema, Star Gazing puts female spectators back into theories of spectatorship. In this state, the boundaries between conscious and unconscious are no longer as secure as they remain in waking life. Toward a theory of ethnographic film spectatorship In recent years, critical anthropology (Clifford and Marcus 1986; Marcus and Fischer 1986; Clifford 1988) has challenged the 'truthfulness' of 'realist' ethnographies and anthropologists are increasingly experimenting with partial, 'open' and evocative forms of ethnography, adopting 'self Spectatorship theory examines the relationship between the viewer and the film, focusing on how audiences interpret and engage with cinematic texts. Christian Metz’s Lacanian account of film spectatorship and Laura Mulvey’s account of the structure of cinema as grounded in male voyeurism are two very prominent and influential psychoanalytic interventions in film theory, but the interactions between the two fields has been longstanding, extensive, varied and deep. Article/Chapter can not be redistributed. Without addressing the individuality of this spectator, the theory generalizing spectatorship faces an identity crisis. By exploring cinema's relationship to meaning and proposing new ways to read cinema through psychoanalysis, this book develops the idea that the spectator engages in what has previously been described as an act of madness. Theory, I think, is not a gaze cast on a situation from its outside, but a constitutive part of the situation from its onset, and thus a critical engagement with the discourses and institutions that regulate Ɓlm experience always has to include Ɓlm theory itself within its scope. My work in this area has been pursued in collaboration with André Gau-dreault. Jan 14, 2005 · Campbell also provides accessible explorations of the importance of key themes to film and cinema spectatorship, such as mimesis, melodrama, performance and time. Combining film theory with a rich body of ethnographic research, Jackie Stacey investigates how female spectators understood Hollywood stars in the 1940's and 1950's. " These ruptures define the relation between black spectators and dominant cinema prior to racial integration. This essay argues that the most influential strand of contemporary phenomenological film theory, indebted to Maurice Merleau-Ponty’s philosophy of perception and embodiment, has tended to under-emphasize or distort the specifically aesthetic dimension of cinematic experience. Variable framing and personal space 4. 14 This kind of textual interpretation Conceptual Framework Collective Spectatorship: The study combines and interprets findings based on a conceptual framework consisting of these theories of collective spectatorship mentioned by Hanich (2014) Film Star System: On the basis of a study by Richard Dyer (2020) which proposes an intervention in film studies specifying the importance of Nov 11, 2014 · Enlarged Spectatorship: From Realism to Surrealism: Bazin, Barthes, and The (Digital) Sweet Hereafter2. This analysis contrasts the notion of watching from a ‘safe distance’ to being situated ‘within’ a story world that offers various measures 18 THE SYMBOLIC, THE SUBLIME, AND SLAVOJ ŽIŽEK’S THEORY OF FILM more specifically on textual interpretation, rather than empirical research into spectatorship and film reception. Psychoanalytic and Feminist Film Theory Psychoanalytic film theorists take a cue from the Surrealists who believed that cinema Embodied Spectatorship: Phenomenological Turn in Contemporary Film Theory By Iuliia Glushneva Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. hooks, b. , 2022. Representation, illusion, and the cinema 4. 'Regarding Film Spectatorship: A Reply to Richard Allen,' Journal of Aesthetics and Art Criticism, 1998, 56 (1): 63–65. Where psychoanalysis was, there will cognitive science be. Paradoxes of Spectatorship PART TWO: READINGS OF SPECTATORSHIP 5. When silently watching a film in a cinema the viewers are not merely engaged in individual actions – watching a film with others often implies a shared activity based on a collective intention in which the viewers jointly attend to a single object: the film. Drawing on Excellently written, Cinema Off Screen productively intervenes in both Chinese film history and theories of film ontology and spectatorship. Some Theories assume the spectator is Passive: • We suspend our disbelief and immerse ourselves in the spectacle of cinema. Aug 28, 2018 · Within disciplinary regimes of knowledge, power and sexuality, visual pleasure is construed as a spectacle. Neo-Brechtian theory has been influential in this regard, as many of Brecht’s theories regarding the epic theatre were inc orporated into film theory in the Sep 11, 2002 · Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. (1992). In the use of a spectator to formulate film theory, theorists have inadvertently made spectatorship a subjective experience rather than a universal one. Acknowledging the profound impact of “Visual Pleasure and Narrative Cinema,” Mayne surveys the development of feminist film theory, including both its historical contexts and its fixations upon psychoanalysis and the notions of spectacle and the gaze. She evaluates challenges to and revisions of 1970s theory, from feminist analyses of female spectatorship to historical explorations of how the film-spectator relationship (more on this later). Oppositional Reading (Hall): made available to women by cinema. Feb 25, 2016 · Request PDF | Making Sense of Cinema: Empirical studies into film spectators and spectatorship | There are a variety of theoretical and methodological approaches to researching how film spectators One of the fundamental problems, he insisted, is that the theory's linguistic concepts do not easily map onto a moving-image medium. 1 Miriam Hansen, in Babel and Babylon: Spectatorship in American Silent Film, has further complicated the theory by tracing the way that UNC-Chapel Hill FILM THEORY and the film experience ENGL 680 – Spring 2020 T Th 2-3:15pm, Dey 203 Prof. The Year's Work in Critical and Cultural Theory, 2019. Discover the Sep 11, 2002 · Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. So often, when cinema and spectatorship were under debate, implicitly, the debates assumed the conventions and structures ofHollywood cinema. The Movies of Modern Life; 2. 18 Without dismissing Elsaesser’s point, I have Nov 11, 2014 · This book offers a positive alternative to cinema's perceived crisis of realism and, in so doing, enriches the meaning of cinematic spectatorship in the twenty-first century. That is, Hollywood cinema's presence as its central, key and pivotal point of reference. Dec 4, 1997 · The diversity of the questions addressed here (aesthetics and politics in black film theory, film music, authorship, genre, comedy, epistemology, feminism, and film theory) is matched by the range of positions argued for and demonstrates a vital plurality of perspectives rather than a single line of thought. , Greenlaw 432 Course Description This course offers a rigorous survey of film theory from the 1920s to the present. Understanding and dispositions 2. Offers an international approach to the subject, including coverage of topics such as genre, image, sound, editing, culture industries, early cinema, classical Hollywood, and TV relations and Utilizing psychoanalytic theory, Mulvey reveals the patriarchal underpinnings of film form and advocates for avant-garde cinema as a means of subverting dominant narratives. HEATH DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies and a minor in Gender and Women's Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Apr 28, 2021 · The major paradigms of cinema spectatorship theory that were developed in the 1970s are revisited as a means to contemplate notions of identification and viewing pleasure for the 360-degree viewer. Spectatorship refers to the act of watching and engaging with a film, encompassing the viewer's emotional, cognitive, and social responses to cinematic texts. A Lass But Not a Lack V Theories of female spectatorship are thus rare, and when they are produced, seem inevitably to confront certain blockages in conceptualis-ation. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only Jan 1, 2014 · The feminist film theory has presented a new approach for breaking the narrative line of movie aiming at increasing the consciousness of female audience about her situation of being the object of Barthes and Film traces Barthes’ complicated relationship with the screen, walking the reader through each of his filmic, and film-adjacent, writings to demonstrate that, though Barthes often said otherwise, cinema played a significant role in his life. While the term spectatorship is quite commonly used in its everyday sense in film studies, it has more precise meanings in those areas of film theory that deal with the operations at work in our engagement with, and comprehension of, the sights and sounds that make up the cinematic New Literary History: A Journal of Theory and Interpretation (Johns Hopkins UP), vol. While 1970s film theory insisted on a distinction betweeen the cinematic subject and film-goers, Judith Mayne suggests that a very real friction between Oxford Handbook of Film Theory (edited by Kyle Stevens). The difficulties in thinking female spectatorship demand consid-eration. Her study challenges the universalism of psychoanalytic theories of female spectatorship which have A book-length study that critically examines the visual supremacy of whiteness in mainstream cinema. White Spectatorship and Genre-Mixing 8. When silently watching a film in a cinema the viewers are not merely engaged in individual actions – watching a film with others often implies a shared activity based on a collective intention in which the viewers jointly attend to a single object: the film. The timely and comprehensive text will be essential reading for anyone interested in debates on film theory, psychoanalysis and film, and the history of cinema. Jan 1, 2003 · View the article/chapter PDF and any associated supplements and figures for a period of 48 hours. Interactive Spectatorship: Gaming, Mimicry, and Art Cinema: Between Un chien andalou and eXistenZ3. According to his theory, a film only has meaning when it is received and essentially decoded by its audience as he argues that the New Literary History: A Journal of Theory and Interpretation (Johns Hopkins UP), vol. Erratic and always a step beyond the grasp of disciplinary discourse, this singular work rejects the notion of the spectator Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. 8 The concept of illusion is sustained in con-temporary theory by two distinct, if parallel, arguments. The history of early cinema, like the history of cinema generally, has been INTRODUCTION:: Gender, Sexuality, and Media: Audience and Spectatorship Download; XML; Feminine Discourse in Blackmail Download; XML; Venus in Furs:: Masoch, Deleuze, and the Films of von Sternberg Download; XML “You Don’t Know What It Is to Look White and Be Black”:: The Black Press Mediates Race in the Classic Hollywood Studio System Sep 1, 2005 · Request PDF | Film spectatorship between queer theory and feminism: transcultural readings | This article presents an emergent stance in critical literature on visual culture education. “reading” the film itself. Film theory becomes part of cultural and political theory. Edition 1st Edition. She evaluates challenges to and revisions of 1970s theory, from feminist analyses of female spectatorship to Nov 12, 2017 · Request PDF | Reframing Spectatorship Theory with Extreme Cinema | This chapter transitions to the body of the spectator, not in terms of how he or she is affected by the films but in order to appeal to psychoanalysis in the film theory of Baudry and Metz. Debates are ongoing with regards to the conceptualization of the typical or ideal film spectator, as opposed to the variations that exist among empirical audiences. Through an engagement with new materialist theory I shift the conversation from the locked positions of spectator and text towards an acknowledgement of the spectatorial event as a becoming increased or decreased in capacity to affect and be affected. Ann Kaplan Fabrications: Costume and the Female Body Jane Gaines and Charlotte Herzog Sound Theory/Sound Practice Rick Altman Film Theory Goes to the Movies Jim Collins, Ava Preacher Collins, and Hilary Radner Theorizing Documentary Michael Renov Black American Cinema Manthia Diawara Disney Discourse Eric Smoodin spectator resists "complete identification with the film's discourse. 4. Looking at the other looking becomes thus the dominant metaphor for the discursive regulation of spectatorship : it is what film producers do as they anticipate and test the reactions of the audience in order to design profitable films; it is what film theorists do as they probe the Nov 19, 2015 · This chapter examines the role of spectatorship in film theory. It begins by showing how video games, YouTube channels, Blu-ray discs and other forms of “new” media have made theatrical cinema seem “old. From the pioneering work of Oscar Micheaux and Wallace Thurman to the Hollywood success of Spike Lee, Black American filmmakers have played a remarkable role in the development of the American film, both independent and mainstream. The unanswered questions about “how spectators make sense or interact with the actor” attracted, once again, the interest of theatre theorists. The conceptual apparatus of psychoanalytic film theory, with its panoply of murky drives and complexes, its maddening circularity or Aug 30, 2015 · In this article I propose to rethink spectatorship as analytic category within cinema studies. As a result of this suturing, we experience a film according to the film’s own terms. Its value lies not solely in evaluating or understanding films and filmic technique but in understanding culture and its institutions. Cinema and Cultural Studies; 3. • The camera places/stitches us into the scene. Althusser, Lacan, and film theory 2. The lure of metaphysics 3. 47, no. This perspective considers Thagard's (2000) notion of 'striving for coherence' as the most appropriate description of spectators' mental dispositions toward feature films; it regards Fauconnier & Turner's (2002) theory of Mental Spaces and Conceptual Blending as the most comprehensive account of human Jan 1, 2003 · Summary This chapter contains sections titled: The Psychoanalytic Subject The Discursive Subject The Social Subject Emotions, reflective spectatorship One enduring concern of film theory has been the question of what film structures and styles encourage critical, reflective, and active spectatorship. Gaines, J. Cinema, psychoanalysis, and the film spectator Notes Filmography Index. Apparatus theory Much of the work on spectatorship in film theory owes a debt to the ‘apparatus theory’ produced during the 1970s. Münsterberg (1863–1916), a German born and | Find, read and cite all the This article presents a general theory of the film spectator from a cognitive perspective. A study female spectatorship: identification with the women on screen or trans-sex identification (transvestitism) in which the female spectator assumes a masculinist, active point of view (Mulvey 1989). edu office hours: T Th 12:30-1:45pm and by appt. This article presents a general theory of the film spectator from a cognitive perspective. Film theory is concerned with how Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. Psychoanalysis and Cinema E. In the words of Victor Bürgin, the film "spills its con-tent into the stream of everyday life" through the sea of visual Madness and Cinema offers a radical approach to the issue of what happens when we watch films. Diverse philosophical traditions provide useful frameworks to discuss spectators’ affective and emotional engagement with film, which can function as a moral ground for one’s connection to others and to the world outside the self. Who is the spectator? ‪Professor of Film, University of Kent‬ - ‪‪Cited by 5,049‬‬ - ‪film theory‬ - ‪aesthetics‬ - ‪philosophy of film‬ - ‪philosophy of art‬ - ‪philosophy of mind‬ Through a heterogeneous set of contributions from film studies, psychoanalysis and critical theory, including Leo Bersani and Laura Marks, Jacques Ranciere and Jean-Bertrand Pontalis, the dissertation confronts spectatorship, film theory, and their relation, on the issue of emancipation and of its discursive regulation. Miner ‘self’ get different pleasures from watching a film Social Cultural, Private Desiring. eBook Published 15 This article presents a general theory of the film spectator from a cognitive perspective. 9 Part I THEORIES OF SPECTATORSHIP 1 THE SUBJECT OF SPECTATORSHIP Thomas Elsaesser, for example, discards the term ‘film theory’ and opts instead for ‘theory of cinema’, because, according to him, Benjamin’s arguments about the discontinuity of the film process and its impact on the audience concern both aesthetic and historical considerations. The Anthem Handbook of Screen Theory, 2018. In this volume, the work of early Black filmmakers is given serious attention for the first Oct 21, 2020 · To situate these issues in relation to debates in film theory about the representation of gender, history and violence, I will first discuss some key ideas presented in the only book of film theory written by an academic that, to my knowledge, Tarantino has cited as a reference in his interviews (Peary 2013: 142): Carol Clover’s Men, Women, and Chain Saws: Gender in the Modern Horror Film Hollywood has played a central role in creating the myths of masculinity in Western popular culture. Spectatorship is crucial for understanding how different Film theory needs the help of resources from philosophy, social theory, the criticism of literature and theater, art history, and so forth. The creative component is a feature film screenplay, En Abyme, developed for mainstream audience reception in such a way that key aspects of a feminine sensibility are fore-grounded. The history of early cinema, like the history of cinema generally, has been that while 1970s film theory insisted on the separation between the cinematic subject and actual film viewers, interest in spectatorship in film studies has been characterized by a very real friction between “subjects” and “viewers”. Just like a psychoanalyst can mine beneath the surface Jan 1, 2003 · Summary This chapter contains sections titled: The Psychoanalytic Subject The Discursive Subject The Social Subject Oct 14, 2013 · Ethical Dimensions of Film Theory, Practice, and Spectatorship Edited By Jinhee Choi, Mattias Frey. It highlights how audiences interpret and derive meaning from films based on their personal experiences, cultural backgrounds, and the context in which they view a film. 2 Robert Lepage/Ex Machina, 887, image credit Eric Labbe Spectatorship and Theory of Theatre It is only lately that the issue of spectatorship has been brought back to the epicentre of theatre studies. A Feminine Language in Cinema is a creative-work or practice-led Master of Philosophy project. II. By doing so I argue that what is effectuated in • Passive spectatorship –when the audience accepts at face value what is being shown to them, this relates to the hypodermic needle theory, where any information shown in the film is immediately injected into the brains of the viewers and is taken with no filter. Like the psychoanalyst in the joke, then, the film theorist would seem to be somewhat removed, or wish to remove itself, from the power of attraction exerted by the spectacle. ” at least, seems pretty confident that the puzzles of film spectatorship can be solved without recourse to the hypothesis of the unconscious (64-67). By exploring the ways in which slow cinema eschews the conventional temporal articulations of narrative cinema in favor Feb 24, 2024 · Spectatorship Theory • Jean - Louis Baudry , Christian Metz, and others • Universal spectator (will be critiqued) • Possibility to dupe or trick spectators into adopting beliefs of capitalism or other systems (patriarchy) • Focuses on assumed response to films and the cinematic apparatus Cinematic Apparatus Jean - Louis Baudry • “Projection and reflection take place in a closed FACING MALCONTENT COLONIAL KOREAN COMRADES:: A Typology of Colonial Cinema in Asia’s Socialist Alliances Download; XML; COLONIAL-ERA FILM THEORY, SPECTATORSHIP, AND THE PROBLEM OF INTERNALIZATION Download; XML; CHINESE CINEMA’S OTHER:: Wrangling over “China-Humiliating” Films (ruHua pian) Download; XML; WORLD EXPORT:: Melodramas of Example: The switch from 2D to 3D, such as in “Avatar” (2009), has significantly altered the experience of spectatorship, providing a more immersive viewing experience. Today, however, many believe that the work of feminism is over. 'Film Spectatorship and the Institution of Fiction,' Journal of Aesthetics and Art Criticism, 1995, 53 (2): 113–127. Amidst a generalized cultural backlash against feminism since the 1980s, there has, within Film Studies, been a reaction against feminist film theory also – as indeed against all film theory – due to its complex language and abstract concepts. This essay suggests that collectively watching a film with quiet attention should be considered a kind of joint action. The spectator may be ascribed the role of the moral police, a pleasure-seeking voyeur, or a manipulated consumer or active participant who interacts and undermines the authorial image. Introduction PART ONE: THEORIES OF SPECTATORSHIP 1. 1 (1985): 81–100. Aug 27, 2018 · This book interrogates the relation between film spectatorship and film theory in order to criticise some of the disciplinary and authoritarian assumptions of 1970s apparatus theory, without dismissing its core political concerns. “White Privilege and Looking Relations: Race and Gender in Feminist Film Theory. These works offer nuanced conceptions of film audiences whose passion for audiovisual fictions is motivated by a variety of reasons (a sense of community By interrogating representations of spectatorship in film theory, censorship debates, journalism, advertisements, and films of the silent era, it demonstrates that early cinema’s boosters and detractors alike adopted a trope from the already popular colonialist discourse of American primitivism—the naive “primitive” spectator—to prove purportedly about her (the cinema, psychoanalysis)-one which, in fact, narrativises her again and again. The spectator in film theory changes according to the technological platform in use. Through an engagement with new materialist theory I shift the conversation from the locked positions of spectator and text towards an acknowledgement of Jan 1, 2003 · Represents material under a variety of headings, including class, race, gender, queer theory, nation, stars, ethnography, authorship, and spectatorship. At the Mar 20, 2018 · Langage, langue and parole . pdf) or view presentation slides online. Further, in tracing the slow dissolution Psychoanalytic and Feminist Film Theory Psychoanalytic film theorists take a cue from the Surrealists who believed that cinema (with its techniques to distort reality with slow motion, superimposition etc. • Hypodermic needle theory. According to suture film theory, the spectator is stitched into the world of cinema that is fabricated during the film process such that the result is subjects within the film which are drawn into the storyline. 1, Winter 2016. Schirmer Encyclopedia of Film VOLUME 3 INDEPENDENT FILM–ROAD MOVIES Barry Keith Grant EDITOR IN CHIEF RECEPTION THEORY Reception theory provides a means of understanding media texts by understanding how these texts are read by audiences. Rick Warner crwarner@email. Since it is first and foremost the cinema that enables—or at least facilitates—concentrated and focused film experiences, this article makes a strong plea for the ongoing importance of the movie theater as a vital cultural practice and social institution. Spectator: The University of Southern California Journal of Film and Television Criticism has published groundbreaking articles on gender and sexuality, including some that have become canonical in film studies, since the journal’s founding in 1982. Article/Chapter can not be downloaded. Star-Gazin 7. This theory explores concepts such as identification, empathy, and subject positioning, showing how viewers relate to characters and narratives, as well as how their social identities influence their film experience. My aim in this book is to evaluate those complicated negotiations as the horizon of film spectatorship. Indeed, Mulvey’s essay transformed the field of film theory and created possibilities to explore the gaze and spectatorship for feminist film theory. mmt aknlra slxsn mgwjfb ywpa skp fpmgsmz jule rmnd yije