图书简介

Introduction: The Very Thought of Theory; Kyle Stevens; Section I: Meta-theory; Chapter 1; A Machine for Killing Time; Tom Gunning; Chapter 2; Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic; Daniel Morgan; Chapter 3; Moral Philosophy and the Moving Image; Brian Price; Chapter 4; Film; Video; Essay; Domietta Torlasco; Chapter 5; The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory; Malcolm Turvey; Chapter 6; In Defense of Psychoanalytic Film Theory; Damon R. Young; Section II: Film Theory’s Project of Emancipation; Chapter 7; Film Theory as Ideology Critique (After Trump); Nico Baumbach; Chapter 8; Buddhism and Film Theory: Beyond a Legacy; Victor Fan; Chapter 9; Feminist Film Theory on the Brink of Laughter; Maggie Hennefeld; Chapter 10; Theory for the Masses; or, Toward a Vernacular Criticism; Noah Isenberg; Chapter 11; The Fold of Old Wounds: Daughters of the Dust, Eve’s Bayou, and Mississippi Damned as Cinematic Black Feminist Theory; Kara Keeling; Section III: Apparatus and Perception; Chapter 12; Lesbian Photographers: Affect and Cinematic Self-Discovery; Marta Figlerowicz; Chapter 13; Notes on Some Forms of Repetition; Homay King; Chapter 14; Empiricism and Film Theory: On the Moviola’s Political Ontology; Davide Panagia; Chapter 15; Film Theory and Machine Vision; Antonio Somaini; Chapter 16; Headphones, Cinematic Listening, and the Frame of the Skull; Kyle Stevens; Section IV: Audiovisuality; Chapter 17; The Audio-Visual Non-relation and the Digital Break; Luka Arsenjuk; Chapter 18; The composer of musique concrete wields a camera; Michel Chion; Translated by Claudia Gorbman; Chapter 19; The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting; Usha Iyer; Chapter 20; Documentary Listening Habits: From Voice to Audibility; Pooja Rangan; Chapter 21; Audiovisual Rhythm and its Spectator: Moonlight as Example; Rick Warner; Section V: How Close is Close Reading?; Chapter 22; Contesting the White Gaze: Black Film and Post-Cinematic Spectatorship; Caetlin Benson-Allott; Chapter 23; In Other Words: Film and the Spider Web of Description; Timothy Corrigan; Chapter 24; Women’s Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano; David Gerstner; Chapter 25; Standing Up Too Close or Back Too Far? A Slanted History of Close Film Analysis; Adrian Martin; Chapter 26; On Fire: When Fashion Meets Cinema; Marketa Uhlirova; Chapter 27; When and Where Does a Film Begin? Putting Films in Context; Amy Villarejo; Section VI: The Turn to Experience; Chapter 28; The Affective Turnabout’s Fair Play; Sarah Keller; Chapter 29; An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema; Julian Hanich; Chapter 30; Those Who Have: The Impersonality of Film Theory; John David Rhodes; Chapter 31; On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect; Scott Richmond; Chapter 32; Cinematic Experience: From Moving Images to Virtual Reality; Robert Sinnerbrink

Trade Policy 买家须知