Felicity Colman
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231169738
- eISBN:
- 9780231850605
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231169738.001.0001
- Subject:
- Film, Television and Radio, Film
This book addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers. It references the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, ...
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This book addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers. It references the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. The book takes the position that film theory is a form of writing that produces a unique cinematic grammar. It argues that film theory, like all grammars, forms part of the system of rules that govern a language, and is thus applicable to wider range of media forms. It describes how film theories create authorial trends, identify the technology of cinema as a creative force and produce films as aesthetic markers. It argues that film theories therefore contribute an epistemological resource that connects the technologies of filmmaking and film composition. The book then explores these connections through film theorisations that address processes related to the diagrammatisation (the systems, methodologies, concepts, histories) of cinematic matters.Less
This book addresses the core concepts and arguments created or used by academics, critical film theorists, and filmmakers. It references the work of Dudley Andrew, Raymond Bellour, Mary Ann Doane, Miriam Hansen, bell hooks, Siegfried Kracauer, Raul Ruiz, P. Adams Sitney, Bernard Stiegler, and Pier Paolo Pasolini. The book takes the position that film theory is a form of writing that produces a unique cinematic grammar. It argues that film theory, like all grammars, forms part of the system of rules that govern a language, and is thus applicable to wider range of media forms. It describes how film theories create authorial trends, identify the technology of cinema as a creative force and produce films as aesthetic markers. It argues that film theories therefore contribute an epistemological resource that connects the technologies of filmmaking and film composition. The book then explores these connections through film theorisations that address processes related to the diagrammatisation (the systems, methodologies, concepts, histories) of cinematic matters.
Margaret Iversen
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226370026
- eISBN:
- 9780226370330
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226370330.003.0002
- Subject:
- Art, Photography
This chapter is a re-evaluation of the concept of indexicality as introduced by Charles Sanders Peirce and revived by Rosalind Krauss’s ground-breaking two-part article, “Notes on the Index”, of ...
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This chapter is a re-evaluation of the concept of indexicality as introduced by Charles Sanders Peirce and revived by Rosalind Krauss’s ground-breaking two-part article, “Notes on the Index”, of 1977. The photographic index came under sustained criticism during the 1970s and 80s as it seemed to fix the meaning and establish the truth of the image. More recently, as in the writing of Mary Ann Doane, the index has been rehabilitated as a type of sign caught up in contingency, chance, and accident. It is understood as a type of sign really affected by its object, but non-mimetic. An excursus on Leo Steinberg’s conception of the ‘flatbed’ picture plane as a model of creative receptivity is followed by a survey of artworks composed of the accumulation of dust. This includes discussions of works by Marcel Duchamp, Man Ray, Mary Kelly, and Gabriel Orozco.Less
This chapter is a re-evaluation of the concept of indexicality as introduced by Charles Sanders Peirce and revived by Rosalind Krauss’s ground-breaking two-part article, “Notes on the Index”, of 1977. The photographic index came under sustained criticism during the 1970s and 80s as it seemed to fix the meaning and establish the truth of the image. More recently, as in the writing of Mary Ann Doane, the index has been rehabilitated as a type of sign caught up in contingency, chance, and accident. It is understood as a type of sign really affected by its object, but non-mimetic. An excursus on Leo Steinberg’s conception of the ‘flatbed’ picture plane as a model of creative receptivity is followed by a survey of artworks composed of the accumulation of dust. This includes discussions of works by Marcel Duchamp, Man Ray, Mary Kelly, and Gabriel Orozco.
Martin O’Shaughnessy
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780719091506
- eISBN:
- 9781781708590
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719091506.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter considers Cantet’s Foxfire, Confessions of a Girl Gang, an adaptation of the eponymous Joyce Carol Oates novel. Drawing again on Bakhtin’s notion of the polyphonic text, it asks to what ...
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This chapter considers Cantet’s Foxfire, Confessions of a Girl Gang, an adaptation of the eponymous Joyce Carol Oates novel. Drawing again on Bakhtin’s notion of the polyphonic text, it asks to what extent Cantet is able to open a space for a female authorial voice. Probing the film’s mise en scene, iconography and use of music, it also asks how much the director is able to resist the tendency, as famously analysed by Fredric Jameson, to represent the 1950s as a commodified surface. Drawing on Mary Ann Doane’s discussion of the female masquerade, it probes the capacity of the film’s girl gang to establish their agency and mount a utopian challenge to the social order. Finally, noting how the gang’s trajectory mimics that of other radical political movements, it suggests that the film takes stock of the contemporary political moment, between the politics that was and that yet to be found.Less
This chapter considers Cantet’s Foxfire, Confessions of a Girl Gang, an adaptation of the eponymous Joyce Carol Oates novel. Drawing again on Bakhtin’s notion of the polyphonic text, it asks to what extent Cantet is able to open a space for a female authorial voice. Probing the film’s mise en scene, iconography and use of music, it also asks how much the director is able to resist the tendency, as famously analysed by Fredric Jameson, to represent the 1950s as a commodified surface. Drawing on Mary Ann Doane’s discussion of the female masquerade, it probes the capacity of the film’s girl gang to establish their agency and mount a utopian challenge to the social order. Finally, noting how the gang’s trajectory mimics that of other radical political movements, it suggests that the film takes stock of the contemporary political moment, between the politics that was and that yet to be found.
