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Full Description
Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.
Contents
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 concrète 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
