TheLanguageandStyleofFilmCriticismbringstogetheroriginalessaysfromaninternationalrangeofacademicsandfilmcriticshighlightingtheachievements,complexitiesandpotentialoffilmcri
Thisvolumeofspeciallycommissionedworkbyexpertsinthefieldoffilmstudiesprovidesacomprehensiveoverviewofthefield.Itsinternationalandinterdisciplinaryapproachwillhaveabroadap
WhenHONGSangsoo'sdebutwork,"TheDayaPigFellintotheWell,"wasreleasedinMay1996,thenation'sfilmcriticswerethrownintoshock.Thecinematiclanguageinthefilmwasunprecedentedin
Filmsevokebroadmoodsandcueparticularemotionsthatcanbebroadlysharedaswellasindividuallyexperienced.Althoughtheexperienceofemotioniscentraltotheviewingofmovies,filmstudies
TheMasterMagicianAfantasticvoyagethroughWaltDisney’sanimationworks“It’skindoffuntodotheimpossible.”–WaltDisneyOneofthemostcreativemindsofthe20thcentury,Walt
WalterBenjaministodayregardedasoneoftheleadingthinkersofthetwentiethcentury.Oftencapturedinpensivepose,hisimageisnowthatofaseriousintellectual.ButBenjaminwasalsoafan
Aclassicreturns.TheoriginaleditionofAmosVogel'sseminalbook,FilmasaSubversiveArtwasfirstpublishedin1974,andhasbeenoutofprintsince1987.AccordingtoVogel--founderofCinema
“Filmismadeforphilosophy,”assertedStanleyCavell.Inadditiontohisworkonscepticism,morality,andtheintentionsandmeaningsofordinarylanguage,theAmericanphilosopherwrotefascinatin
Reflexivityreferstothosemomentsinfictionandfilmwhentheworksuddenlycallsattentiontoitselfasafictionalconstruct.Forexample,inliteratureacharactermightsuddenlystepoutofthe
FromTheMalteseFalcon(1941)toTouchofEvil(1958),theclassicfilmnoiriseasilyrecognizableforitsunusuallighting,sinisterplots,andfeelingofparanoia.Forcriticsandfansalike,thes