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Since the 1970s film studies has been dominated by a basic paradigm--the concept of classical Hollywood cinema--that is, the protagonist-driven narrative, valued for the way it achieves closure by neatly answering all of the enigmas it raises.
List of contents
Introduction: The Family Melodrama of Classical Narrative Cinema/ Jane M. Gaines 1
Dickens, Griffith, and Film Theory Today/ Rick Altman 9
Form Wars: The Political Unconscious of Formalist Theory/ Bill Nichols 49
Film Response from Eye to I: The Kuleshov Experiement/ Norman N. Holland 79
Securing the Fictional Narrative as a Tale of the Historical Real: The Return of Martin Guerre/ Janet Staiger 107
Between Melodrama and Realism: Anthony Asquith's Underground and King Vidor's The Crowd/ Christine Gledhill 129
The Hieroglyph and the Whore: D.W. Griffith's Intolerance/ Miriam Hansen 169
The She-Man: Postmodern Bi-Sexed Performance in Film and Video/ Chris Straayer 203
Dead Ringer: Jacqueline Onassis and the Look-Alike/ Jane Gaines 227
Nostalgia for the Present/ Fredric Jameson 253
Reading Dynasty: Television and Reception Theory/ Jane Feuer 275
Dialogues of the Living Dead/ John O. Thompson 295
Image/ Machine/ Image: On the Use and Abuse of Marx and Metaphor in Television Theory/ Richard Dienst 313
Notes on Contributors 341
Index 345
About the author
Jane Gaines, ed.
