American Cinema/American Culture looks at the interplay between American cinema and mass culture from the 1890s to 2011. It begins with an examination of the basic narrative and stylistic features of classical Hollywood cinema. It then studies the genres of silent melodrama, the musical, American comedy, the war/combat film, film noir, the western, and the horror and science fi...(展开全部)

Ideal for Introduction to American Cinema courses, American Film History courses, and Introductory Film Appreciation courses focused on American Film, this text offers a "cultural" examination of the American movie-making industry, with particular attention paid to the economic and aesthetic institution of Hollywood.

Ideal for Introduction to American Cinema courses, American Film History courses, and Introductory Film Appreciation courses focused on American Film, this text offers a cultural examination of the American movie-making industry, with particular attention paid to the economic and aesthetic institution of Hollywood.

Representational technologies including photography, phonography, and the cinema have helped define modernity itself. Since the nineteenth century, these technologies have challenged our trust of sensory perception, given the ephemeral unprecedented parity with the eternal, and created profound temporal and spatial displacements. But current approaches to representational and c...(展开全部)

Like the haggadah, the traditional "telling" of the story of the Israelites' exodus from Egypt that is read at the Passover seder, cinema offers a valuable text from which to gain an understanding of the social, political, and cultural realities of Jews in America. In an industry strongly influenced by Jewish filmmakers who made and continue to make the decisions as to which fi...(展开全部)

埃里克•高德曼，美国叶史瓦大学、美国犹太神学院（纽约）电影专业客座教授。作为一名电影学者，高德曼教授对意第绪电影、以色列电影和犹太电影都颇有研究。此外，他还是埃尔格传媒公司（专门发行犹太电影的知名影视公司）的创建者和董事长，并曾经担任犹太媒体中心的负责人。著有《视线、影像、梦想：意第绪电影的前世今生》一书。

Representational technologies including photography, phonography, and the cinema have helped define modernity itself. Since the nineteenth century, these technologies have challenged our trust of sensory perception, given the ephemeral unprecedented parity with the eternal, and created profound temporal and spatial displacements. But current approaches to representational and c...(展开全部)

The auteur theory, of which film criticAndrew Sarris was the leading American proponent, holds that artistry in cinema can be largely attributed to film directors, who, while often working against the strictures of studios, producers, and scriptwriters, manage to infuse each film in their oeuvre with their personal style. Sarris's The American Cinema , the bible of auteur stud...(展开全部)

The auteur theory, of which film criticAndrew Sarris was the leading American proponent, holds that artistry in cinema can be largely attributed to film directors, who, while often working against the strictures of studios, producers, and scriptwriters, manage to infuse each film in their oeuvre with their personal style. Sarris's The American Cinema , the bible of auteur stud...(展开全部)

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiou's account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value ...(展开全部)