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Sommario
Acknowledgments
Introduction
R. Barton Palmer and Murray Pomerance
Chapter 1: Hugo Münsterberg: Psychologizing Spectatorship between Laboratory and Theater
Jeremy Blatter
Chapter 2: Vachel Lindsay: Theory of Movie Hieroglyphics
Tom Gunning
Chapter 3: Béla Balázs: Film Aesthetics and the Rituals of Romance
Steven Woodward
Chapter 4: Siegfried Kracauer: The Politics of Film Theory and Criticism
Johannes von Moltke
Chapter 5: Walter Benjamin: Afterimages of the Aura
Colin Williamson
Chapter 6: Jean Epstein: Cinema’s Encounter with Modern Life
Sarah Keller
Chapter 7: Sergei Eisenstein: Attractions/Montage/Animation
Matthew Solomon
Chapter 8: Jacques Lacan: Giving All the Right Signs
Dominic Lennard
Chapter 9: Rudolf Arnheim: Cinema and Partial Illusion
Nathan Holmes
Chapter 10: Roland Barthes: What Films Show Us and What They Mean
William Brown
Chapter 11: Jean Rouch: The Camera as Provocateur
William Rothman
Chapter 12: André Bazin: Dark Passage into the Mystery of Being
Dudley Andrew
Chapter 13: Gilles Deleuze: On Movement, Time, and Modernism
Will Scheibel
Chapter 14: Stanley Cavell: The Contingencies of Film and Its Theory
Daniel Morgan
Chapter 15: Michel Foucault: Murmur and Meditation
Tom Conley
Chapter 16: Jean Douchet: La Politique Hitchcock
R. Barton Palmer
Chapter 17: Christian Metz: Dreaming a Language in Cinema
Steven Rybin
Chapter 18: V. F. Perkins: Aesthetic Suspense
Alex Clayton
Chapter 19: Jacques Rancière: Equality and Aesthetics
Gilberto Perez
Chapter 20: Michel Chion: Listening to Cinema
Jonah Corne
Chapter 21: Judith Butler: Sex, Gender, and Subject Formation
Kristen Hatch
Works Cited
Notes on Contributors
Index
Info autore
Pomerance, Murray
