How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies.
When the common frameworks for studying film - the nation, identity, representation, Hollywood industry - have ceased to yield explanatory power, how do we conceive of film's doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts...
How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first ce...
How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies.
When the common frameworks for studying film - the nation, identity, representation, Hollywood industry - have ceased to yield explanatory power, how do we conceive of film's doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts...
How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first ce...
'Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cultures) of film, it asks both viewer and student to take film more seriously' - Communication Research Trends
Film Cultures weaves together insights from cultural theory and film studies to provide a complex and absorbing theoretical account of contemporary film culture. Harbord writes with authority, imagination and wit and her delicate deployment of modernist and postmodernist cultural accounts makes rewarding...
'Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cult...
'Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cultures) of film, it asks both viewer and student to take film more seriously' - Communication Research Trends
Film Cultures weaves together insights from cultural theory and film studies to provide a complex and absorbing theoretical account of contemporary film culture. Harbord writes with authority, imagination and wit and her delicate deployment of modernist and postmodernist cultural accounts makes rewarding...
'Film Cultures is thought-provoking and challenging. By opening film theory up to the many simultaneous networks of relation (that is, the cult...
A cultural studies textbook that deals with issues of methodology, as well as mapping out the history and theories and ideas in cultural studies. The book examines the work of Raymond Williams, Lacan and Hoggart, among others, and explores notions of subculture, psychoanalysis, Marxist thought, narrative, autobiography, fiction, subjectivity, language, history and representation. The book focuses on the past, present and future of cultural studies, with the aim of providing readers with a clear overview of the central ideas within the area, developing current debates and possible future...
A cultural studies textbook that deals with issues of methodology, as well as mapping out the history and theories and ideas in cultural studies. The ...
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below. In this sense, cinema's potency was its ability to bring other, non-human modes of being into view, to forge an encounter between multiple realities that nonetheless co-exist. Yet the story of cinema became (through its institutionalization) one in which the human swiftly assumed centrality through the literary crafting of story, character and the expression of interiority.
Ex-centric...
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worl...
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worlds, and landscapes seen from above and below. In this sense, cinema's potency was its ability to bring other, non-human modes of being into view, to forge an encounter between multiple realities that nonetheless co-exist. Yet the story of cinema became (through its institutionalization) one in which the human swiftly assumed centrality through the literary crafting of story, character and the expression of interiority.
Ex-centric...
In the beginning, cinema was an encounter between humans, images and machine technology, revealing a stream of staccato gestures, micrographic worl...
