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Topic: Structuralist film theory

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	Film theory - Wikipedia, the free encyclopedia
		Film theory seeks to develop concise, systematic concepts that apply to the study of film/cinema as art.
		Classical film theory provides a structural framework to address classical issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship.
		More recent analysis has given rise to psychoanalytic film theory, structuralist film theory, feminist film theory, and theories of documentary, new media, third cinema, and new queer cinema, to name just a few.
	en.wikipedia.org /wiki/Film_theory (418 words)

	The Jagiellonian University Film Studies - Alicja Helman, "Polish Film Theory"
		In contrast to their Silesian colleagues, the authors of Film i kontekst refer to the very matter of film, analyzing motifs characteristic of cinema in a series of analyses.The authors` basic intention was to locate the filmic motifs within general tradition and to reveal the mechanisms of cultural transformations.
		The options taken by Polish film theory in the post structural age, (which was the reaction to systemic studies), were not clear-cut and obvious, probably because of the short period of time that passed from structural to poststructural approach.
		Treating film mythology as a form of social mythology, Marszalek stresses the coexistence of film myths with stereotypes which together contribute (by means of conceptual collocations and standard symbolic representations) to the emergence of synthetic images, unique ready-made forms which facilitate the identification of reality.
	info-poland.buffalo.edu /uj/ujfilm/Film1.htm (9594 words)

	Doel on Ezra (Site not responding. Last check: 2007-11-06)
		Indeed, she sets the scene for the encounter between Melies's filmmaking and Metz's film theory by noting that she will be bringing 'quite dated' (34) concepts to bear on the earliest films: a structuralist analysis developed in the mid-1960s (Metz's model of the grande syntagmatique).
		Film history is in fact the story of this shift, this process of turning magic into reality; and Melies is the magician who first performed this feat' (2).
		Nevertheless, 'many of his films trade in exoticism (and indeed, in overt racism)' (142), and 'the value placed on exoticism indicates a desire to preserve cultural differences that were threatened with disappearance as contact between different cultures increased' (146).
	www.film-philosophy.com /vol6-2002/n24doel (3146 words)

	Film Theory
		From that point on, especially with the expansion of film departments and faculties at institutions of higher learning, film theory and criticism proliferated at a rapid rate, and film journals became as much a place for heated debate on the issues of art and aesthetics as the learned journals were for essays on literature.
		The film viewer is seen as the subject of a "gaze" that is largely "constructed" by the film itself, where what is on screen becomes the object of that subject's desire.
		The theory stresses the subject's longing for a completeness which the film may appear to offer through identification with an image; in fact, according to Lacanian theory, identification with the image is never anything but an illusion and the subject is always split simply by virtue of coming into existence.
	www.jahsonic.com /FilmTheory.html (6663 words)

	Smelik - Feminist Film Theory
		Although Clover is aware of the misogyny of the genre of the slasher film, she claims a subversive edge in that it adjusts gender representations and identifications.
		Combining documentary with fictional elements, this hybrid film centres on the relation between the body of the mother and that of her daughter by foregrounding questions of authenticity and authority.
		Or that the film is a self-reflexive study of the position of the documentary filmmaker.
	www.let.uu.nl /womens_studies/anneke/filmtheory.html (13080 words)

	Structuralism (Site not responding. Last check: 2007-11-06)
		The structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication --http://en.wikipedia.org/wiki/Structuralist_film_theory [Oct 2004]
		In film and literary theory and criticism, the term refers to a line of thought stemming from the structural linguistics usually identified with Ferdinand de Saussure.
		His most well-known contribution to film criticism lies in applying both Sigmund Freud's psychology and Lacan's mirror theory to the cinema, proposing that the reason film is popular as an art form lies in its ability to both be an imperfect reflection of reality and as a method to delve into the unconscious dream state.
	www.jahsonic.com /Structuralism.html (410 words)

	CARROLL, Noel. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory.
		Film studies conferences are awash with panelists making reference to "The Absent One," "interpellation," "the lack," "suture," and "the Symbolic." There is a continuous flow of books and articles in which (to use Noel Carroll's phrase) "Psycho-Semiotic Marxists" incorporate such concepts to substantiate their declarations about film.
		There is a tacit assumption in much contemporary film theory that audiences are unable to distinguish "politically correct" films from ones which are not, and that moreover, the ideological power of films is so effective that it is capable of "subjecting" unsuspecting audiences to a form of ideological brainwashing.
		And yet it is the primary task of contemporary film theoreticians to validate the working of the Imaginary and the Symbolic to position the viewer as a "unified autonomous agent" in relation to the "law" and language; every act of discourse serves to renew this relationship.
	www.revue-cinemas.umontreal.ca /vol001no0102/13-zucker.htm (3039 words)

	Propositions for the Deconstruction of Cine-Structuralism
		For avant-garde film practice, "structuralism" has inserted itself as a kind of guarantor of meaning' — a 'ghost in the machine/apparatus' — with the result that film practice itself is seen as a confluence of both psycho-linguistic-socio-political formations (all operating under the solemn gaze of the analyst!) and 'textual' determinations.
		Structuralist film (of the kind mentioned by Sitney and even Gidal) was a kind of unwitting accomplice to theoretical speculations which sought to combine linguistics, psychoanalysis, anthropology and philosophy under a fixed set of combinational rules (as externalized in the cinematic "apparatus").
		The example of a 'feminist psychoanalytic theory of film' attempting to ideologically critique patriarchal capitalism, all the while it was totally derived from metaphysical binarism and Freudian sexism is an example of a nonsensical praxis and the condition where one repressive ideological system (the patriarchal) is replaced by an equally repressive analytical system ("feminist psychoanalysis").
	www.holonet.khm.de /visual_alchemy/opsis/Propositions.html (3929 words)

	Film Theory concepts that apply to film and video (Site not responding. Last check: 2007-11-06)
		Film theory seeks to develop concise, systematic concepts that apply to film and video.
		Classical film theory provides a structural framework to address classical issues of techniques, narrativity -, diegesis -, cinematic codes, "the image", genre, subjectivity, and authorship.
		Auteur Theory is similar to film history theory but auteur theory focuses on historical developments, rather than actual movies as Film History Theory does.
	www.cinemateca.org /movies/film_theory.htm (140 words)

	Film Industry:About film - The Film Guide (Site not responding. Last check: 2007-11-06)
		Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences.
		Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.
		Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue).
	filmguide.wikicities.com /wiki/Film (5097 words)

	Drive-Through Film Theory
		The art of film language is not in iconic signification....
		Film is a sophisticated software, the hardware we got from another source.
		In film, our analysis of a particular shot is paradigmatic when we compare it (not necessarily consciously) with the use of a viable alternative kind of shot.
	afronord.tripod.com /theory.html (3629 words)

	Open Directory - Arts:Movies (Site not responding. Last check: 2007-11-06)
		Sites about only one character from one film or film series, or multiple characters from a single film or film series should submit to the Movie Titles category for that film or film series.
		For objective evaluations of films based on their merits in modern film theory, see Movie Theory and Criticism.
		Classical film theory provides a structural framework to address issues of techniques, narrativity, diegesis, cinematic codes, "the image", genre, subjectivity, and authorship.
	dmoz.org /Arts/Movies/desc.html (2047 words)

	Open Directory - Arts:Movies:Theory and Criticism (Site not responding. Last check: 2007-11-06)
		Film criticism is, on some level, encapsulated within this rubric, and includes questions about how and why film works, and what effects it has on viewing subjects.
		Notice how this is distinct from film review (or film commentary), which is usually written for a general audience and is generally not theoretical.
		Theory and criticism related to a specific genre of film.
	dmoz.org /Arts/Movies/Theory_and_Criticism/desc.html (243 words)

	Film Theory FS30CE
		'Film Theory' often serves as shorthand for the fusion of poststructuralist, feminist, Marxist and post-colonial forms of analysis that occurred in the late nineteen sixties.
		While paying due attention to this important development, this course will view film theory as an object of greater longevity and variety, arguing that an exclusive focus on post-'68 perspectives is excessively limited.
		The theories in question will be considered both as an expression of philosophical positions and in terms of their capacity to illuminate - and interrogate - film texts.
	www.abdn.ac.uk /film/courses/fs30ce.shtml (274 words)

	Faculty & Staff : The Department of Modern Culture & Media at Brown University
		semiotics, post-structuralism, feminist theory, history and theory of the novel, history and theory of photography, culture of capitalism
		20th century literature and literary theory; francophone studies; literature and film.
		film theory and history, media, theories of culture and ideology, semiotic theory, theory and history
	www.brown.edu /Departments/MCM/people (327 words)

	UW Press - : Post-Theory: Reconstructing Film Studies, Edited by David Bordwell and Noël Carroll
		Bordwell and Carroll—two of the most prominent names in the field—advocate pluralism, open mindedness, film theories over film Theory, and the need for an ongoing critical dialogue.
		Since the 1970s, film scholars have been searching for a unified theory that will explain all sorts of films, their production, and their reception; the field has been dominated by structuralist Marxism, varieties of cultural theory, and the psychoanalytic ideas of Freud and Lacan.
		Bordwell and Carroll have given space not only to distinguished film scholars but to non-film specialists as well, ensuring a wide variety of opinions and ideas on virtually every topic on the current agenda of film studies.
	www.wisc.edu /wisconsinpress/books/0370.htm (401 words)

	Death and Despair
		Prerequisites: FST 203 (ENG 270/THR 270), junior or senior standing, and three hours of film studies courses at the 300-400 level or permission of instructor.
		A study of the major schools of film theory, such as genre theory, historical criticism, reception theory, auteur theory, formalism, cognitivist film theory and structuralist and post-structuralist film theories.
		Analysis sheets will be due on the day we start discussing a particular theory or film.
	people.uncw.edu /specko/FST440.htm (926 words)

	[No title]
		Grodal's theory is in opposition to both structuralist film theory (like Roland Barthes') and psychoanalytically inspired theory (like Christian Metz).
		Grodal distances himself from the ideology-critical film theory that often tries to assert that the movie/text hides the devices that construct the meaning of the text.
		When watching a visual representation of phenomena without any centring anthropomorphic actants, we often 'lose interest' owing to lack of emotional motivation for the cognitive analysis of the perceived, a fact which many makers of experimental films have discovered when presenting their films to a mass audience.
	www.jesperjuul.dk /thesis/5-theplayerandthegame.html (4797 words)

	Writings - Essays - Manifestos
		'Film Studies 101' (the 'hegemony of marxist-psychoanalytic film studies') -- Al Razutis / 2002-03
		Intermedia Vancouver Film History via: Intermedia in 69 archives hosted by Gregg Simson and Ed Varney, poets of the actual.
		'MENAGE A TROIS: Contemporary Film Theory, New Narrative and the Avant-Garde' - by Al Razutis
	www.alchemists.com /visual_alchemy/vc-write.html (841 words)

	Introduction to Film Theory (3904) (Site not responding. Last check: 2007-11-06)
		This course is designed to give students who are new to the study of cinema a basic grounding in the issues and current debates that form the discourse of film studies.
		It provides an interdisciplinary approach to contemporary theoretical discourses of cinema by combining Film Form and Film History with Lacanian psychoanalysis, structuralist semiotics, post-structuralist literary theory, and variants of Althusserian Marxism.
		The first part of the course is designed with the purpose of familiarizing students to the formal and stylistic features of film analysis and history; the other part touches upon the problematics of textual analysis, forms of interpretation, and subjects of representation.
	www.newschool.edu /mediastudies/program/spring98/3904.html (137 words)

	Broce Syllabus
		Jay Ruby, "Is an Ethnographic Film a Filmic Ethnography?" reprinted from Studies in the Anthropology of Visual Communication 2(2) (1975)
		Marcus Banks, "Which films are the ethnographic films?" in Film as Ethnography, edited by Peter Ian Crawford and David Turton (1995)
		Toward a theory of ethnographic film spectatorship" in Film as Ethnography, edited by Peter Ian Crawford and David Turton (1995)
	www.uvm.edu /~lvivanco/bbsyllabus.html (549 words)

	World War 1 and 2 - Structuralist film theory (Site not responding. Last check: 2007-11-06)
		World War 1 and 2 - Structuralist film theory
		The structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication.
		An example of this is understanding how the simple combination of shots can create an additional idea: the blank expression on a man's face, a piece of pie, and then back to the man's face.
	www.worldwardiary.com /history/Structuralist_film_theory (145 words)

	theory@buffalo == ISSUES
		Perverting The Course: The Dynamics of Academic Queer Theory and Lesbian/Gay/(Queer) Politics
		The Uses of Cultural Theory in Romantic Period Studies: Towards a New Synthesis
		Theory is Not What It Used to Be
	wings.buffalo.edu /theory/archive/issues.html (678 words)

	Webdrome - Theory and Criticism
		Home > Arts > Movies > Theory and Criticism
		Film theory seeks to develop concise, systematic concepts that apply to film and video.
		The Image of the Devil in 20th Century Film
	webdrome.com /Top/Arts/Movies/Theory_and_Criticism (106 words)

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