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  3. Theorizing the moving image

Theorizing the moving image

Noël Carroll
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  • Contents

  • Reviews

  • Frontmatter
  • Acknowledgments (page iv)
  • Foreword, by David Bordwell (page ix)
  • Introduction (page xiii)
  • Part I: Questioning Media (page 1)
    • I Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography (page 3)
    • II The Specificity of Media in the Arts (page 25)
    • III Concerning Uniqueness Claims for Photographic and Cinematographic Representation (page 37)
    • IV Defining the Moving Image (page 49)
  • Part II: Popular Film and TV (page 75)
    • V The Power of Movies (page 78)
    • VI Toward a Theory of Film Suspense (page 94)
    • VII As the Dial Turns: Notes on Soap Operas (page 118)
    • VIII Toward a Theory of Point-of-View Editing: Communication, Emotion, and the Movies (page 125)
    • IX Notes on Movie Music (page 139)
    • X Notes on the Sight Gag (page 146)
  • Part III: Avant-Garde and Documentary Film (page 159)
    • XI Avant-Garde Film and Film Theory (page 162)
    • XII Causation, the Ampliation of Movement and Avant-Garde Film (page 169)
    • XIII Language and Cinema: Preliminary Notes for a Theory of Verbal Images (page 187)
    • XIV A Note on Film Metaphor (page 212)
    • XV From Real to Reel: Entangled in Nonfiction Film (page 224)
    • XVI Reply to Carol Brownson and Jack C. Wolf (page 253)
  • Part IV: Ideology (page 257)
    • XVII The Image of Women in film: A Defense of a Paradigm (page 260)
    • XVIII Film, Rhetoric, and Ideology (page 275)
  • Part V: The History of Film Theory (page 291)
    • XIX Film/Mind Analogies: The Case of Hugo Munsterberg (page 293)
    • XX Hans Richter's Struggle for Film (page 305)
    • XXI A Brief Comment on Frampton's Notion of Metahistory (page 313)
  • Part VI: Polemical Exchanges (page 319)
    • XXII Cognitivism, Contemporary Film Theory And Method: A Response to Warren Buckland (page 321)
    • XXIII Cracks in the Acoustic Mirror (page 336)
    • XXIV A Reply to Health (page 343)
    • XXV Replies to Hammett and Allen (page 360)
  • Part VII: False Starts (page 373)
    • XXVI Film History and Film Theory: An Outline for an Institutional Theory of Film (page 375)
    • XXVII Art, Film, and Ideology: A Response to Blaine Allan (page 392)
    • XXVIII Toward a Theory of Film Editing (page 403)
  • Index (page 421)
Reviews
Journal AbbreviationLabelURL
JAAC 57.1 (Winter 1999): 86-88 http://www.jstor.org/stable/432072
FQ 52.2 (Winter 1998-1999): 60-61 http://www.jstor.org/stable/1213282
Citable Link
Published: c1996
Publisher: Cambridge University Press
Copyright Holder: Cambridge University Press
ISBN(s)
  • 9780521466073 (paper)
  • 9781139085953 (ebook)
  • 9780521460491 (hardcover)
Series
  • Cambridge Studies in Film
Subject
  • Film & Media Studies
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