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xi | |
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xiii | |
| Introduction |
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1 | (4) |
| Part 1: REALLY USEFUL THEORY |
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5 | (3) |
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How films mean, or, from aesthetics to semiotics and half-way back again |
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8 | (10) |
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18 | (16) |
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Film theory and the revolt against master narratives |
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34 | (19) |
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Case study: interpreting Singin' in the Rain |
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53 | (23) |
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Who (and what) is it for? |
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76 | (24) |
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| Part 2: FILM AS MASS CULTURE |
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97 | (3) |
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100 | (14) |
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114 | (16) |
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Stephanie Hemelryk Donald |
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The politics of cultural address in a `transitional' cinema: a case study of Indian popular cinema |
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130 | (35) |
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Reception theory and audience research: the mystery of the vampire's kiss |
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165 | (18) |
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Re-examining stardom: questions of texts, bodies and performance |
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183 | (23) |
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| Part 3: QUESTIONS OF AESTHETICS |
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203 | (3) |
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After the classic, the classical and ideology: the differences of realism |
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206 | (15) |
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221 | (23) |
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Judging audiences: the case of the trial movie |
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244 | (21) |
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Introducing film evaluation |
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265 | (14) |
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`Style', posture, and idiom: Tarantino's figures of masculinity |
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279 | (21) |
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| Part 4: THE RETURN TO HISTORY |
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297 | (3) |
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What is film history?, or, the Riddle of the sphinxes |
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300 | (16) |
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`Animated pictures': tale of cinema's forgotten future, after 100 years of films |
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316 | (16) |
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The mass production of the senses: classical cinema as vernacular modernism |
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332 | (19) |
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Discipline and fun: Psycho and postmodern cinema |
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351 | (30) |
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| Part 5: CINEMA IN THE AGE OF GLOBAL MULTIMEDIA |
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379 | (2) |
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Film theory and spectatorship in the age of the `posts' |
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381 | (21) |
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Digging an old well: the labor of social fantasy in a contemporary Chinese film |
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402 | (17) |
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419 | (19) |
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The end of cinema: multimedia and technological change |
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438 | (15) |
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| Index |
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453 | |