Thomas Elsaesser is Professor of Film and Television Studies in the Department of Art and Culture at the University of Amsterdam. A renowned film scholar, he is the author and editor of many books, including Weimar Cinema and After, also published by Routledge.
Malte Hagener is Associate Professor of media studies at the Leuphana Universität Lüneburg. He has written Moving Forward, Looking Back: The European Avant-garde and the Invention of Film Culture, 1919-1939 and edited many volumes, including Cinephilia: Movies, Love, and Memory.
What is the relationship between cinema and spectator? That is the central question for film theory, and renowned film scholars Thomas Elsaesser and Malte Hagener use this question to guide students through all of the major film theories—from the classical period to today—in this insightful, engaging book. Every kind of cinema (and film theory) imagines an ideal spectator, and then imagines a certain relationship between the mind and body of that spectator and the screen. Using seven distinctive configurations of spectator and screen that move progressively from ‘exterior’ to ‘interior’ relationships, the authors retrace the most important stages of film theory from 1945 to the present, from neo-realist and modernist theories to psychoanalytic, ‘apparatus’, phenomenological and cognitivist theories.
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以前也用过Elsaesser的其他文章,不过这本读起来特别晦涩,不好理解,觉得简单易懂的童鞋可以留个联系方式,讨论下cinema as window and frame这一章
评分不大可信 只有参考文献有用 1电影例子似乎只是呈现每一章的隐喻而无助于理解理论2将特定理论硬塞到某种对电影的隐喻里给人一种好像大家各自都分好了工的错觉 非常容易让人误解这些理论的缘起与其问题意识 让人以为这些理论都是重视一点忽视其他(事实根本不是)作者的分类学取代了具体的理论问题
评分更像是一个“漫谈”;我还是觉得这本不适合入门,更适合全面了解过电影理论史之后当一个自圆其说的approach来看待,这个approach看起来在衔接传统电影与未来的VR/AR/MR电影上更有优势。
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评分这可能是我翻看最多遍的电影理论导读,尤其在越来越了解整个电影学的脉络之后。从sense出发,本身就是作者对于“电影是什么”这个永恒的本体论问题的回答。缺点在于对初学者不算友好,但对电影学整体图景有一定了解后,并有志于研究电影与意识、感官,这会是非常好的入门读物。
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