Aesthetics of Film

Translator's Note = ⅸ Introduction = 1 Typologies of Written Work on the Cinema = 1 The Popular Press = 2 Publications Directed at Cinephiles = 3 Theoretical and Aesthetic Writings = 3 Theories of the Cinema and Aesthetics of the Cinema = 5 An Indigenous Theory = 5 A Descriptive Theory = 6 Film Theory and Aesthetics = 6 Theory of the Cinema and Technical Practice = 6 Film Theories = 7 1. Film as Audiovisual Representation = 9 Film Space = 9 Techniques of Depth = 18 Perspective = 18 Depth of Field = 21 The Concept of the Shot = 26 The Cinema as Audio Representation = 31 The Economic-Technical Factors and Their History = 31 Aesthetic and Ideological Factors = 33 2. Montage = 37 The Principle of Editing = 37 The Objects of Editing = 39 Modes of Action in Editing = 44 Montage: The Large Definition of Editing = 44 The Functions of Montage = 45 The Empirical Approach = 46 Toward More Systematic Description = 48 Ideologies of Montage = 52 André Bazin and the Cinema of Transparency = 54 S. M. Eisenstein and the Dialectical Cinema = 60 3. Cinema and Narration = 68 Narrative Cinema = 68 The Cinema Encounters Narration = 68 Non-narrative Cinema: A Difficult Boundary = 70 Narrative Cinema: Objects and Objectives of Film Study = 73 The Fiction Film = 77 Every Film Is a Fiction Film = 77 The Problem of the Referent = 79 Narrative, Narration, and Diegesis = 82 Narrative Codes, Functions, and Characters = 97 Realism in the Cinema = 108 Realism and the Materials of Expression = 109 The Realism of Film Subject Matter = 110 The Plausible = 114 The Genre Effect = 117 The Impression of Reality = 121 4. Cinema and Language = 126 Film Language = 126 An Ancient Notion = 127 The First Theorists = 131 The Film Grammars = 133 The Classical Conception of Language = 136 A Language without Signs = 140 The Cinema: Language or Language System? = 142 Film Language and Language System(s) = 143 Film's Intelligibility = 150 The Heterogeneity of Film Language = 158 The Materials of Expression = 158 The Concept of Code in Semiology = 160 The Codes Specific to the Cinema = 161 Nonspecific Codes = 164 The Textual Analysis of Film = 165 The Concept of Film Text in Language and Cinema = 166 Case Study: The Textual System of D. W. Griffith's Intolerance = 167 The Notion of Text in Literary Semiotics = 169 The Originality and Consequence of Textual Analysis = 174 5. Film and Its Spectator = 182 The Film Spectator = 182 The Conditions of the Representative Illusion = 183 The "Working" of the Spectator = 186 Filmology's Spectator = 190 The Film Spectator as Imaginary Person = 192 A New Approach to the Film Spectator = 198 The Film Spectator and Identification in Film = 200 The Role of Identification in the Formation of the Ego = 200 Identification as Narcissistic Regression = 208 Double Identification in the Cinema = 212 Primary Identification in the Cinema = 213 Secondary Identification in the Cinema = 216 Identification and Structure = 222 Identification and Enunciation = 233 The Film Spectator and the Psychoanalytic Subject = 235 Feminist Theory and the Spectator = 236 Conclusion = 239 Notes = 245 Bibliography = 253 Index = 261

펼치기