TY  - BOOK
AU  - Andrew, J. Dudley
TI  - Major film theories : an introduction
SN  - 0195699556
U1  - 778.5 
PY  - 2008///
CY  - Madras,Singapore etc
PB  - Oxford Uni. Press
N1  - CONTENTS Introduction  3 The Subject  3 The Method  6 I. THE FORMATIVE TRADITION 11 1. HUGO MUNSTERBERG 14 Matter and Means 15 Form and Function 20 2. RUDOLF ARNHEIM  27 Material  28 The Creative Use of the Medium  31 Film Form  33 The Purpose of Film  35 3. SERGEI EISENSTEIN  42 The Raw Material of Film  45 Cinematic Means : Creation Through Montage  51 Film Form  57 The Art Machine 60 Organic Analogy  64 The Final Purpose of Film  68 Rhetoric  68 4. BELA BALAZS AND THE TRADITION OF FORMALISM  76 A Summary of Formative Film Theory  76 Russian Formalism  79 Bela Baldzs  84 The Raw Material of Film Art  86 The Creative Potential of Film Technique  88 Cinematic Shape or Form  93 Cinematic Functions  97 II. REALIST FILM THEORY  104 5. SIEGFRIED KRACAUER  106 Matter and Means  107 Compositional Forms 114 The Purpose of Cinema  125 Rebuttals  129 6. ANDRE BAZIN 134 The Raw Material 137 Cinematic Means and Form 141 Bazin versus Traditional Theory  141 The Plastics of the Image 146 The Resources of Montage 155 The Use and Misuses of Montage : Cinematic Purposes 164 The Function of Cinema 170 III. CONTEMPORARY FRENCH FILM THEORY  179 7. JEAN MITRY 185 The Raw Material 188 Creative Potential in Film 192 The Form and Purpose of Cinema 205 5. CHRISTIAN METZ AND THE SEM1OLOGY OF THE CINEMA  212 The Raw Material 216 Of Semiology 216 Of Film 217 The Means of Signification in Cinema 219 Film Is Not a True Language  219 Nevertheless Film Is Like a Language  223 1. Code/Message  224 2. System/Text  227 The Forms and Possibilities of Film  230 Semiology and the Purposes of Film  236 9. THE CHALLENGE OF PHENOMENOLOGY : AMEDEE AYFRE AND HENRI AGEL  242 NOTES  255 BIBLIOGRAPHY  261 INDEX  273
ER  -