ABSTRACT
The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first.
When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. The Routledge Encyclopedia of Film Theory challenges these first impressions by aiming to make film theory accessible and open to new readers.
Edward Branigan and Warren Buckland have commissioned over 50 scholars from around the globe to address the difficult formulations and propositions in each theory by reducing these difficult formulations to straightforward propositions.
The result is a highly accessible volume that clearly defines, and analyzes step by step, many of the fundamental concepts in film theory, ranging from familiar concepts such as ‘Apparatus’, ‘Gaze’, ‘Genre’, and ‘Identification’, to less well-known and understood, but equally important concepts, such as Alain Badiou’s ‘Inaesthetics’, Gilles Deleuze’s ‘Time-Image’, and Jean-Luc Nancy’s ‘Evidence’.
The Routledge Encyclopedia of Film Theory is an ideal reference book for undergraduates of film studies, as well as graduate students new to the discipline.
TABLE OF CONTENTS
entry |6 pages
Affect, Film and
entry |7 pages
Anglo-American Film Theory
entry |7 pages
Apparatus Theory (Baudry)
entry |13 pages
Apparatus Theory (Plato)
entry |6 pages
Art, Film as
entry |5 pages
Attention
entry |5 pages
Attraction
entry |6 pages
Auteur Theory
entry |7 pages
Blending and Film Theory
entry |6 pages
Brecht and Film
entry |6 pages
Camera
entry |6 pages
Cinematic Movement
entry |5 pages
Classic Realist Text
entry |6 pages
Classical Film Theory
entry |6 pages
Close-Up
entry |6 pages
Cognitive Film Theory
entry |8 pages
Concept
entry |5 pages
Contemporary Film Theory
entry |5 pages
Counter-Cinema
entry |6 pages
Depth of Field
entry |5 pages
Dialogism
entry |5 pages
Diegesis
entry |6 pages
Digital Cinema
entry |7 pages
Documentary Theory
entry |6 pages
Emotion, Film and
entry |5 pages
Enunciation, Film and
entry |5 pages
Ethics
entry |6 pages
European Film Theory
entry |5 pages
Evidence (Nancy)
entry |5 pages
Excess, Cinematic
entry |4 pages
Fantasy and Spectatorship
entry |8 pages
Feminist Film Theory, Core Concepts
entry |8 pages
Feminist Film Theory, History of
entry |4 pages
Film Fable (Jacques Rancière)
entry |7 pages
Film-Philosophy
entry |6 pages
Formalist Theories of Film
entry |5 pages
Gaming and Film Theory
entry |7 pages
Gaze Theory
entry |5 pages
Genre Theory
entry |5 pages
Identification, Theory of
entry |5 pages
Ideology, Cinema and
entry |6 pages
Illusion
entry |5 pages
Imaginary Signifier
entry |5 pages
Imagined Observer Hypothesis
entry |5 pages
Inaesthetics
entry |5 pages
Interface
entry |6 pages
Long Take
entry |6 pages
Memory and Film
entry |5 pages
Mimetic Innervation
entry |5 pages
Minor Cinema
entry |5 pages
Mise En Scène
entry |6 pages
Modernism Versus Realism
entry |8 pages
Montage Theory I (Hollywood Continuity)
entry |8 pages
Montage Theory II (Soviet Avant-Garde)
entry |6 pages
Movement-Image
entry |5 pages
Narration
entry |7 pages
Ontology of the Photographic Image
entry |5 pages
‘Ordinary Man of Cinema' (Schefer)
entry |8 pages
Perspectivism Versus Realism
entry |6 pages
Phenomenology and Film
entry |6 pages
Pixel/Cut/Vector
entry |6 pages
Poetic Cinema
entry |5 pages
Point of View
entry |8 pages
Postmodern Cinema
entry |6 pages
Queer Theory/Queer Cinema
entry |6 pages
Reception Theory
entry |6 pages
Redemption (Kracauer)
entry |6 pages
Representation
entry |5 pages
Rhetoric, Film and
entry |7 pages
Scepticism
entry |5 pages
Seeing/Perceiving
entry |5 pages
Semiotics of Film
entry |6 pages
Sound Theory
entry |6 pages
Specificity, Medium I
entry |5 pages
Specificity, Medium II
entry |6 pages
Structural/Materialist Film
entry |5 pages
Suture
entry |6 pages
Symbol and Analogon (Mitry)
entry |6 pages
Symptomatic Reading
entry |8 pages
Third World Cinema
entry |6 pages
Time-Image
entry |5 pages
Trauma and Cinema
entry |5 pages
Voice
