In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. Examining and developing the work of 'cognitive film semiotics', a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics, he investigates Michel Colin's cognitive semantic theory of film; Francesco Casetti and Christian Metz's theories of film enunciation; Roger Odin's cognitive-pragmatic film theory; and Michel Colin and Dominique Chateau's cognitive studies of film syntax, which are viewed within the framework of Noam Chomsky's transformational generative grammar. Presenting a survey of cognitive film semiotics, this study also re-evaluates the film semiotics of the 1960s, highlights the weaknesses of American cognitive film theory, and challenges the move toward 'post-theory' in film studies.
Film Studies: An Introduction provides an overview of the key areas in film studies, including aesthetics, narrative, genre, documentary films and the secrets of film reviewing. From Hitchcock and Tar
Although the blockbuster is the most popular and commercially successful type of filmmaking, it has yet to be studied seriously from a formalist standpoint. This is in opposition to classical Hollywoo
In Film Theory: Rational Reconstructions, Warren Buckland asks a series of questions about how film theory gets written in the first place:How does it select its objects of study and its methods of in
Wes Anderson's Symbolic Storyworld presents a theoretical investigation of whatmakes the films of Wes Anderson distinctive. Chapter by chapter, it relentlessly pulls apart each of Anderson's narrative
In Film Theory: Rational Reconstructions, Warren Buckland asks a series of questions about how film theory gets written in the first place:How does it select its objects of study and its methods of in
This text presents the most appropriate theories and methods for analyzing contemporary America cinema. Using an innovative approach to writing about individual movies, each of the main chapters exami
From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques—like fragmented spatio-temporal reality, time loo
From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques—like fragmented spatio-temporal reality, time loo
Film theory no longer gets top billing or plays a starring role in film studies today, as critics proclaim that theory is dead and we are living in a post-theory moment. While theory may be out of the
Film theory no longer gets top billing or plays a starring role in film studies today, as critics proclaim that theory is dead and we are living in a post-theory moment. While theory may be out of the
This book translates a series of colloquial but in-depth interviews with a seminal film theorist, Christian Metz, in which he explains and expands on his groundbreaking theories. These interviews have
The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to
The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to
