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)

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)

You can think of Freedom from Fear as the academic's version of The Greatest Generation: like Tom Brokaw, Stanford history professor David M. Kennedy focuses on the years of the Great Depression and the Second World War and how the American people coped with those events. But there the similarities end--and, in terms of the differences, one might begin by noting that the histor...(展开全部)

You can think of Freedom from Fear as the academic's version of The Greatest Generation: like Tom Brokaw, Stanford history professor David M. Kennedy focuses on the years of the Great Depression and the Second World War and how the American people coped with those events. But there the similarities end--and, in terms of the differences, one might begin by noting that the histor...(展开全部)

..". a fresh, compelling, essential work of film theory. Recommended for all libraries." --Choice "[Jean Mitry] is the Aristotle of film." --R.D. MacCann "This text marks a watershed in film theory. Mitry sums up the first fifty years of theoretical writings on the cinema..." --Richard Abel "The rediscovery of Mitry could change the parameters of film teaching, breaking down th...(展开全部)

..". less about film than about the psychology of the viewing experience." -- American FilmEmploying Freudian psychoanalysis, Christian Metz explores the nature of cinematic spectatorship and looks at the operations of meaning in the film text.