Film Theory: An Introduction (Images of Culture)

This popular title had been reprinted nine times since its first publication and is an accessible account of film theory, aimed at both the cinema-goer and the student. 'Film needs theory' said Alan Parker, 'like it needs a scratch on the negative'. This book shows that statement to be invalid, in a series of chapters simply titled Politics, Semiotics, Psychoanalysis, Authorship, Narrative Realism and The Avant-garde.

Film theory: An introduction (Images of culture)

Lapsley, Robert

Humor & Entertainment

Distributed exclusively in the USA and Canada by St. Martin's Press

This popular title had been reprinted nine times since its first publication and is an accessible account of film theory, aimed at both the cinema-goer and the student. 'Film needs theory' said Alan Parker, 'like it needs a scratch on the negative'. This book shows that statement to be invalid, in a series of chapters simply titled Politics, Semiotics, Psychoanalysis, Authorship, Narrative Realism and The Avant-garde.

Westlake, Michael

Movies

Manchester University Press

Film theory: an introduction offers a highly readable account of film theory and is an indispensable resource for students. The discussion ranges from the late 1960s to the present, a period in which a number of conceptual strands, notably politics, semiotics and psychoanalysis were woven together in an ambitious synthesis. In this book, the authors chart the construction of this synthesis and its subsequent fragmentation, and clearly explain the various intellectual currents which have contributed to it. Divided into two parts, the first covers the conceptual background of film theory, dealing with historical materialism, semiotics and psychoanalysis, whilst in the second the authors concentrate on particular topics such as authorship, narrative, realism, the avant-garde and postmodernism. For this new edition, the authors have added a new foreword, a fully updated and expanded bibliography, and a 60-page Retrospect outlining developments within film theory since the book’s original publication in 1988. This Retrospect identifies a number of broad readings of Theory, each with a different perspective on the main content of the book. As such, it provides a new and original mapping of the ‘post-theory’ moment in this complex and often fractured terrain. Accessible and authoritative, this book is essential reading for students of film theory, or indeed anyone seeking a deeper understanding of modern cinema.

Film theory: An introduction

Michael Westlake Ltd

P648 - MANCHESTER UNIV PR

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