Theorizing the Moving Image brings together a selection of essays written by one of the leading critics of film over the past two decades. In this volume, Noël Carroll examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, and comedy, and such topics as sight gags, film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a new approach to film theory.
Author(s): Noel Carroll
Series: Cambridge Studies in Film
Publisher: Cambridge University Press
Year: 1996
Language: English
Pages: 439
Table of Contents......Page 4
Foreword......Page 6
Introduction......Page 10
Part I - Questioning Media......Page 17
I - Medium Specificity Arguments and the Self-Consciously Invented Arts: Film, Video, and Photography......Page 19
II - The Specificity of Media in the Arts......Page 41
III - Concerning Uniqueness Claims for Photographic and Cinematographic Representation......Page 53
IV - Defining the Moving Image......Page 65
Part II - Popular Film and TV......Page 91
V - The Power of Movies......Page 94
VI - Toward a Theory of Film Suspense......Page 110
VII - As the Dial Turns: Notes on Soap Operas......Page 134
VIII - Editing: Communication, Emotion, and the Movies......Page 141
IX - Notes on Movie Music......Page 155
X - Notes on the Sight Gag......Page 162
Part III - Avant-Garde and Documentary Film......Page 174
XI - Avant-Garde Film and Film Theory......Page 177
XII - Causation, the Ampliation of Movement and Avant-Garde Film ......Page 184
XIII - Language and Cinema: Preliminary Notes for a Theory of Verbal Images......Page 202
XIV - A Note on Film Metaphor......Page 227
XV - From Real to Reel: Entangled in Nonfiction Film......Page 239
XVI - Reply to Carol Brownson and Jack C. Wolf......Page 268
Part IV - Ideology......Page 272
XVII - The Image of Women in Film: A Defense of a Paradigm......Page 275
XVIII - Film, Rhetoric, and Ideology......Page 291
Part V - The History of Film Theory......Page 306
XIX - Film/Mind Analogies: The Case of Hugo Munsterberg......Page 308
XX - Hans Richter's Struggle for Film......Page 320
XXI - A Brief Comment on Frampton's Notion of Metahistory......Page 328
Part VI - Polemical Exchanges......Page 333
XXII - Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland......Page 335
XXIII - Cracks in the Acoustic Mirror......Page 350
XIV - A Reply to Health......Page 357
XXV - Replies to Hammett and Allen......Page 375
Part VII - False Starts......Page 387
XXVI - Film History and Film Theory: An Outline for an Institutional Theory of Film......Page 389
XXVII - Art, Film and Ideology: A Response to Blaine Allan......Page 406
XXVIII - Toward a Theory of Film Editing......Page 417
Index......Page 434
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