The SAGE Handbook of Film Studies
Publication Year: 2008
Written by a team of veteran scholars and emerging talents, The SAGE Handbook of Film Studies maps the international traditions of the field, drawing out regional differences in the way that intellectual reflection on cinema and film has been transformed into a field of systematic inquiry. It reflects on the field's conceptual infrastructure, the dominant paradigms and debates, and evaluates their continuing salience. Finally, it looks optimistically to the future of film, the institution of cinema, and the discipline of Film Studies at a time when the very existence of film is being called into question by new technological, industrial, and aesthetic developments.
- Front Matter
- Subject Index
- Section I: Mapping Traditions
- Chapter 1: North America
- Chapter 2: European Film Scholarship
- Chapter 3: China: Cinema, Politics and Scholarship
- Chapter 4: Our Films, Their Films: Some Speculations on Writing Indian Film History
- Chapter 5: Film Research in Argentina
- Chapter 6: Cinema Studies in Brazil
- Chapter 7: Y Tu Crítica También: The Development of Mexican Film Studies at Home and Abroad
- Chapter 8: Australia
- Chapter 9: Postcolonial and Transnational Perspectives
- Section II: Disciplinary Dialogues
- Chapter 10: Film and Philosophy
- Chapter 11: Difficult Relations: Film Studies and Continental European Philosophy
- Chapter 12: Cinema and Art History: Film has two Eyes
- Chapter 13: Film and History
- Chapter 14: Mass Media, Anthropology and Ethnography
- Chapter 15: Psychoanalysis and Cinema
- Chapter 16: The Political Economy of Film
- Chapter 17: TV's Next Season?
- Chapter 18: Film and Cultural Studies
- Section III: Paradigms in Perspective
- Chapter 19: The Hollywood Industry Paradigm
- Chapter 20: Formalist Tendencies in Film Studies
- Chapter 21: The Persistence of the Avant-Garde
- Chapter 22: Film and (as) Modernity
- Chapter 23: Cinema/Ideology/Society: The Political Expectations of Film Theory
- Chapter 24: ‘We Do Not Die Twice’: Realism and Cinema
- Chapter 25: Feminist Perspectives in Film Studies
- Chapter 26: Authors and Auteurs: The Uses of Theory
- Chapter 27: Where Sound is: Locating the Absent Aural in Film Theory
- Chapter 28: The Question of Genre in Cult Film and Fandom: Between Contract and Discourse
- Chapter 29: Film Audiences
- Chapter 30: Re-Mapping Bollywood Cinema: A Postcolonial Case-Study
- Chapter 31: Film in the Context of Digital Media
International Editorial Board[Page ii]
- Barbara Creed, University of Melbourne, AUSTRALIA
- Anne Friedberg, University of Southern California, USA
- Patrick Fuery, University of Newcastle, AUSTRALIA
- Christine Geraghty, University of Glasgow, UK
- James Naremore, Indiana University, USA
- Steve Neale, University of Exeter, UK
- Dana Polan, New York University, USA
- Philip Rosen, Brown University, USA
- Vivian Sobchack, University of California, Los Angeles, USA
- Robert Stam, New York University, USA
- Ginette Vincendeau, King's College London, UK
Editorial Arrangement and Introduction � James Donald and Michael Renov 2008
© SAGE Publications Ltd., 2008
First Published 2008
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Enquiries concerning reproduction outside those terms should be sent to the publishers.
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Notes on Contributors[Page viii]
Ian Aitken is Associate Professor in Film Studies at Hong Kong Baptist University and Senior Research Fellow at De Montfort University. He is the author of Film and Reform (Routledge, 1990), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), Alberto Cavalcanti (Flicks Books, 2001), European Film Theory and Cinema (Edinburgh University Press, 2001), and Realist Film Theory and Cinema (Manchester University Press, 2006), and editor of The Encyclopedia of the Documentary Film (Routledge, 2006).
Philip Brophy is a filmmaker, sound designer, composer, performer, and writer. His published books include 100 Modern Soundtracks (2004) and 100 Anime (2005) for the British Film Institute, London. He instigated the Cinesonic International Conference on Film Scores and Sound Design (1998–2001), and has edited three volumes from the conferences, published by the Australian Film Television and Radio School (AFTRS), Sydney. He currently writes occasionally on film sound/music for the journals The Wire (London) and Film Comment (New York), and manages his own website: http://www.philipbrophy.com.
Warren Buckland, Senior Lecturer in Film Studies at Oxford University. He is the author of six books: The Film Spectator (ed., Amsterdam University Press, 1995); The Cognitive Semiotics of Film (Cambridge University Press, 2000); Studying Contemporary American Film (with Thomas Elsaesser, Arnold, 2002); Film Studies (McGraw-Hill, 2003); Directed by Steven Spielberg (Continuum, 2006); and Puzzle Films: Complex Storytelling in Contemporary Cinema (ed., Blackwell, 2008). He also edits the New Review of Film and Television Studies. He has been a British Academy Post-Doctoral Fellow and has received funding from the Leverhulme Trust.
Alison Butler teaches Film Studies in the Department of Film, Theatre and Television at the University of Reading, UK. She is the author of Women's Cinema: The Contested Screen (Wallflower, 2002). She has published essays on women's cinema, feminist Film Studies and experimental film in books and journals including Camera Obscura and Screen. She is a member of the Editorial Advisory Board of Screen.
John Caughie is Professor of Film and Television Studies at the University of Glasgow. His publications include Theories of Authorship (Routledge and Kegan Paul/BFI), which he edited in 1982, and British Television Drama: Realism, Modernism and British Culture (Oxford University Press, 2001). He is an editor of Screen, and was co-editor with Charlotte Brunsdon of the series, Oxford Television Studies.
Angela Dalle Vacche is Associate Professor of Film Studies at the Georgia Institute of Technology in Atlanta and the founding director of Italian Film Studies (IFS), a summer documentary filmmaking school with the University of Udine-Gorizia. She is the author of [Page ix]The Body in the Mirror: Shapes of History in Italian Cinema (Princeton University Press, 1992); Cinema and Painting: How Art History is Used in Film (University of Texas Press, 1996); The Visual Turn: Classical Film Theory and Art History (Rutgers University Press, 2002); Color: The Film Reader (Routledge, 2006) and Diva: Early Cinema, Stardom, Italian Women 1900–1922 (University of Texas Press, 2008).
James Donald is Professor of Film Studies and Dean of the Faculty of Arts and Social Sciences at the University of New South Wales, Australia, having worked previously at the Open University, Sussex University and Curtin University of Technology, Western Australia. He edited Screen Education in the late 1970s and was founding editor of New Formations. He is the author of Imagining the Modern City (Athlone Press/University of Minnesota Press, 1999) and Sentimental Education: Schooling, Popular Culture and the Regulation of Liberty (Verso, 1992), co-author of The Penguin Atlas of Media and Information (Penguin, 2001), and editor of a dozen volumes including Fantasy and the Cinema (BFI Publishing, 1989), Psychoanalysis and Cultural Theory: Thresholds (Macmillan, 1991), and Close Up, 1927–1933: Cinema and Modernism (Cassell, 1998). His main research at present looks at the impact of Josephine Baker and Paul Robeson on inter-war European culture.
Hamish Ford is a Sydney-based film scholar. In addition to the Film Studies-Continental European philosophy nexus, his areas of research and teaching specialization include the formal, conceptual, and aesthetic relationship of film to time and negativity; European modernist cinema (in particular Antonioni, Resnais, and Bergman); German, French, and Italian cinema; contemporary Iranian (notably Abbas Kiarostami), East Asian, and Australian cinema; and documentary. He is a regular contributor to Senses of Cinema and RealTime.
Patrick Fuery is Professor of Media and Cultural Studies at the University of Newcastle, Australia. He has previously held Chairs at the University of Sussex and University of East London. He is the author of eight books, including most recently Madness and Cinema: Psychoanalysis, Spectatorship and Culture (Palgrave Macmillan, 2003). His forthcoming book is on the ethics of the sublime.
Jane Gaines is Professor of Literature and English at Duke University where she founded the Program in Film/Video/Digital. She is the author of two award-winning books, Contested Culture: The Image, the Voice, and the Law (University of North Carolina Press, 1991) and Fire and Desire: Mixed Race Movies in the Silent Era (University of Chicago Press, 2001). She now directs the Perspectives on Marxism and Society Program at Duke and is working on a book on women in the international film industry in the silent era.
Faye Ginsburg is Director of the Center for Media, Culture and History at New York University, where she is also the David B. Kriser Professor of Anthropology, and the Co-Director of the Center for Religion and Media. Her films and books have focused on cultural activism, from her multiple-award-winning book, Contested Lives: The Abortion Debate in an American Community (University of California Press, 1995), to her edited collection (with Lila AbuLughod and Brian Larkin), Media Worlds: Anthropology on New Terrain (University of California Press, 2002). Recipient of many awards and grants, including Guggenheim and MacArthur awards, she is currently completing a book entitled Mediating Culture: Indigenous Identity in the Digital Age.
Jostein Gripsrud is Professor of Media Studies and Head of the Department of Information Science and Media Studies at the University of Bergen. He has published extensively in several languages on theatre, popular literature, film history, television, journalism, popular music, [Page x]media and cultural policy, and relevant social and cultural theory for all of these media, genres and cultural forms. He has also been involved in cultural policy work (for UNESCO) and was active in the media policy field (1996–9) as Chair of the government-appointed but independent Public Service Broadcasting Council. He has had a regular column in a national daily newspaper since 1998 and wrote, hosted, and partly produced a six-part TV series on Cultural Disorder which ran in prime time on both the national public service (NRK) channels in the spring of 2003.
Carlos A. Gutierrez is co-founding director of Cinema Tropical, a non-profit media arts organization dedicated to the distribution, programming, and promotion of Latin American cinema in the United States. Created in 2001, Cinema Tropical has become one of the leading purveyors of Latin American films in the US. He has been a guest lecturer at various universities throughout the country and serves as a contributing editor to BOMB Magazine.
Stephanie Hemelryk Donald is Professor of International Studies in the Centre for Research in Social and Cultural Change in China at the University of Technology, Sydney. Her books include Public Secrets Public Spaces: Cinema and Civility in China (Rowman and Littlefield, 2000); Little Friends: Children's Film Culture in China (Rowman and Littlefield, 2005); The State of China Atlas (University of California Press, 2005); Branding Cities on the West Pacific Rim: Film, Tourism and Urban Identity (Ashgate, 2007). She is currently working on the emerging taste structures of the ‘middle class’ and new rich class in China.
Matt Hills is Senior Lecturer in Media and Cultural Studies at Cardiff University. He is the author of Fan Cultures (Routledge, 2002), The Pleasures of Horror (Continuum, 2005) and How to do Things with Cultural Theory (Hodder-Arnold, 2005). Amongst other things, he is currently working on Triumph of a Time Lord: Regenerating Doctor Who in the 21st Century for I.B. Tauris, and a textbook called Key Concepts in Cultural Studies for Sage.
Noel King is Senior Lecturer in the Department of Media at Macquarie University, Sydney. He co-edited a collection of ficto-critical writing called No Substitute (Fremantle Arts Centre Press, 1990), and co-edited The Last Great American Picture Show: New Hollywood Cinema in the 1970s (Amsterdam University Press, 2004). He has chapters in The Last Great American Picture Show, the Oxford Guide to Film Studies (Oxford University Press, 1998), and the Cinema Book (BFI, 2007). He has published in journals such as Screen, Critical Quarterly, Framework, Cinema Journal, Continuum, Metro and Southern Review.
George Kouvaros is Associate Professor in Film in the School of English, Media and Performing Arts, University of New South Wales, Sydney. He is the author of Where Does it Happen? John Cassavetes and Cinema at the Breaking Point (University of Minnesota Press, 2004) and The Films of Paul Schrader (University of Illinois Press, 2008). He is currently working on a study of photography and post-war American acting.
Erlend Lavik is Research Fellow in the Department of Information Science and Media Studies at the University of Bergen. He is currently writing his dissertation on the relationship between classical and post-classical Hollywood cinema.
Scott McQuire teaches in the Media and Communication Program in the School of Culture and Communication at the University of Melbourne. His most recent books are The Media City (Sage, 2007), and Empires, Ruins + Networks: The Transcultural Agenda in Art (Rivers Oram Press) which he co-edited in 2005.
[Page xi]Vijay Mishra is Professor of English Literature at Murdoch University, Australia. Among his major publications are: Dark Side of the Dream: Australian Literature and the Postcolonial Mind (with Bob Hodge, Allen and Unwin, 1991); The Gothic Sublime (State University of New York Press, 1994); Devotional Poetics and the Indian Sublime (State University of New York Press, 1998); Bollywood Cinema: Temples of Desire (Routledge, 2002); and The Literature of the Indian Diaspora: Theorizing the Diasporic Imaginary (Routledge, 2007).
Julian Murphet is Professor in Modern Film and Literature in the School of English, Media and Performing Arts at the University of New South Wales, Sydney. His publications include the books Literature and Race in Los Angeles (Cambridge University Press, 2001), Bret Easton Ellis’ American Psycho (Continuum, 2002), Literature and Visual Technologies (co-edited with Lydia Rainford, Palgrave Macmillan, 2003), Narrative and Media (with Anne Dunne, Helen Fulton and Rosemary Huisman, Cambridge University Press, 2005) as well as various articles and book chapters on postmodernism, film, race, literature and theory.
Tom O'Regan is Head of the School of English, Media Studies and Art History at the University of Queensland. He is the author of Australian Television Culture (Allen and Unwin, 1992), Australian National Cinema (Routledge, 1996) and co-author with Ben Goldsmith of The Film Studio: Film Production in the Global Economy (Rowman and Littlefield, 2005).
Michael O'Pray is Professor of Film in the School of Architecture and the Visual Arts, University of East London. His publications include Derek Jarman: Dreams of England (BFI, 1996), Avant-Garde Film: Themes, Forms and Passions (Wallflower Press, 2003), and as editor Andy Warhol Film Factory (BFI, 1989) and The British Avant-Garde Film 1926–1995: An Anthology of Writings (University of Luton Press, 1996).
David Oubina is Researcher of the Conicet and teaches Cinema and Literature at the University of Buenos Aires, and Scriptwriting at the Universidad del Cine. He is a member of the Editorial Board of the journals Las ranas (arte, ensayo, traduccion) and Otrocampo (estudios sobre cine). He is the author of several books including, most recently, Filmologia. Ensayos con el cine (Manantial, 2000); El cine de Hugo Santiago (Festival de cine de Buenos Aires, 2002); Jean-Luc Godard: el pensamiento del cine (Paidos, 2003); and El silencio y sus bordes: Discursos extremos en la literatura y el cine argentinos, entre los 60 y los 70 (Siglo XXI, forthcoming).
Dana Polan is Professor of Cinema Studies at New York University. He is the author of seven books in film and cultural study including, most recently, Scenes of Instruction: The Beginnings of the U. S. Study of Film (University of California Press, 2007) and the forthcoming The French Chef, on Julia Child's classic TV cooking show.
Michael Renov is Professor of Critical Studies and Associate Dean of Academic Affairs at the School of Cinema Arts, University of Southern California. He is the author of The Subject of Documentary (University of Minnesota Press, 2004) and Hollywood's Wartime Woman: Representation and Ideology (UMI Research Press, 1988), editor of Theorizing Documentary (Routledge, 1993), Collecting Visible Evidence (University of Minnesota Press, 1999), and Resolutions: Contemporary Video Practices (University of Minnesota Press, 1996), and series editor of the Visible Evidence (University of Minnesota Press) book series. His main research interests include documentary theory, autobiography in film and video, video art and activism, and representations of the Holocaust. He has curated documentary programs around the world and has served as a jury member at documentary festivals including Sundance, Silverdocs, and Brazil's It's All True.
[Page xii]Bhaskar Sarkar is Associate Professor of Film and Media Studies at the University of California, Santa Barbara. He is the author of Mourning the Nation: Indian Cinema in the Wake of Partition (Duke University Press, 2008), and co-editor of an anthology of essays, The Subaltern and the Popular (Routledge, forthcoming). He has also published essays in several anthologies and in journals such as Quarterly Review of Film and Video, Rethinking History: Theory and Practice, and Journal of Commonwealth and Postcolonial Studies. His research interests include globalization and culture, uncertainty and speculation, trauma and history, and postcolonial cultural studies.
Vanessa R. Schwartz is Professor of History at the University of Southern California, where she directs the Visual Studies Graduate Certificate. The author of Spectacular Realities: Early Mass Culture in fin-de-siècle Paris (University of California Press, 1998) and It's So French! Hollywood, Paris and the Making of Cosmopolitan Film Culture (University of Chicago Press, 2007), she is now working on the French reception of Pop Art and the work of Jacques Demy. She has also co-edited two volumes, Cinema and the Invention of Modern Life (University of California Press, 1995) and The Nineteenth-Century Visual Culture Reader (Routledge, 2004), and co-edited a special issue of Urban History in 2006 called ‘Urban Icons’ which includes a multi-media companion.
Brian Shoesmith has a long-standing interest in Indian cinema. He was a founding editor of Continuum: Journal of Media and Cultural Studies and has edited several collections on film history. He is currently working on a text on global media with Mark Balnaves (Edith Cowan University, Australia) and Stephanie Hemelryk Donald (University of Technology, Sydney). He now lives and works in Dhaka, where he is Director and Professor of Media Studies and Journalism at the University of Liberal Arts, Bangladesh (ULAB).
Murray Smith is Professor and Head of Film Studies at the University of Kent, UK, where he has taught since 1992. Since 1995 he has been an advisory board member of the Centre for Cognitive Studies of the Moving Image. His research interests include the psychology of film viewing, and especially the place of emotion in film reception; the philosophy of film, and of art more generally; music and sound design in film; and popular music. He is currently working on the implications of evolutionary theory for film culture. His publications include Engaging Characters: Fiction, Emotion, and the Cinema (Clarendon, 1995), Film Theory and Philosophy (co-edited with Richard Allen, Clarendon, 1998), Contemporary Hollywood Cinema (co-edited with Steve Neale, Routledge, 1998), Trainspotting (British Film Institute, 2002), and Thinking through Cinema (co-edited with Tom Wartenberg, Blackwell, 2006).
Lynn Spigel is the Frances E. Willard Professor of Screen Cultures at Northwestern University. She is the author of Make Room for TV: Television and the Family Ideal in Postwar America (University of Chicago Press, 1992) and Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Duke University Press, 2001). Her book TV by Design: Modern Art and the Rise of Network Television is forthcoming from the University of Chicago Press. She has edited numerous anthologies including Television after TV: Essays on a Medium in Transition (Duke University Press, 2004).
Graeme Turner is an Australian Research Council Federation Fellow and Director of the Centre for Critical and Cultural Studies at the University of Queensland. His work has crossed Media Studies, Film Studies and Cultural Studies; his cultural studies inflected introduction to film, Film As Social Practice (Routledge) has gone into four editions (the most recent in 2006). The Film Cultures Reader (Routledge, 2002) introduces and contextualizes key examples of [Page xiii]cultural studies approaches to popular film. Other recent publications include The Media and Communications in Australia (co-edited with Stuart Cunningham, Allen and Unwin, 2006); Ending the Affair: The Decline of Television Current Affairs in Australia (UNSW Press, 2005); and Understanding Celebrity (Sage, 2004).
Ruth Vasey is Senior Lecturer in Screen Studies at Flinders University, South Australia, where she teaches topics on American cinema, television and global media. Her book, The World According to Hollywood, 1918–1939 (University of Wisconsin Press, 1997), won the Kraszna-Krausz Moving Image Book Award in 1998, and her articles on American film industry history have been published in leading journals in the fields of Film Studies and American Studies. She lives in the Adelaide Hills with her partner Richard Maltby and their son Ben.
Constantine Verevis is Senior Lecturer in Film and Television Studies at Monash University, Melbourne. His articles have appeared in Australian Studies, Bright Lights Film Journal, Film Criticism, Film Studies, Framework, Hitchcock Annual, Media International Australia, Senses of Cinema, and other periodicals. He is the author of Film Remakes (Edinburgh University Press, 2006), and is at present working (with Noel King and Deane Williams) on an Australian Research Council-funded project-titled ‘Australian Film Theory and Criticism’.
Paola Voci is a lecturer at the University of Otago, New Zealand. Her area of study combines East Asian Studies (specifically, Chinese language and culture), Film and Media Studies, and visual culture. In particular, her recent research has focused on documentary film/videomaking in contemporary China and the media of the Chinese diaspora. She has published in Modern Chinese Literature and Culture and Senses of Cinema, and has contributed to the Encyclopedia of Chinese Film (Routledge, 1998). Her work is also included in several edited collections of essays, such as Lingyan xiangkan: haiwai xuezhe ping dangdai Zhongguo jilupian (A New Look at Contemporary Chinese Documentary) (Shanghai Wenhui Publishing House, 2006), Ombre Elettriche. Cento anni di cinema cinese 1905–2005 (Electric Shadows: 100 Years of Chinese Cinema 1905–2005) (Fondazione La Biennale di Venezia, 2005), and Asia in the Making of New Zealand (Auckland University Press, 2006). She is currently writing China on Video, a book that analyzes movies made and viewed on smaller screens (for example, the DV camera, the computer monitor – and, within it, the internet window – and the cellphone display).
Deane Williams is Head of Film and Television Studies at Monash University, Melbourne. He has written widely on Australian documentary film, is the author of Mapping the Imaginary: Ross Gibson's Camera Natura (AFI/ATOM, 1996) and Michael Winterbottom (with Brian McFarlane, Manchester University Press, forthcoming), editor of the journal Studies in Documentary Film, and is (with Noel King and Constantine Verevis) currently working on a large research project entitled ‘Australian Film Theory and Criticism’.
Ismail Xavier teaches in the Department of Film and Television in the School of Communications and Arts, University of Sao Paulo. He has published extensively in journals such as Screen, Sight and Sound and Review 73: Literature and Arts of the Ameritas, and is the author of several books, including: O Discurso Cinematográfico: a opacidade e a transparência (Editora Paz e Terra, 1977), Sertão Mar: Glauber Rocha e a estética da fome (Editora Brasiliense, 1983), Allegories of Underdevelopment: Aesthetics and Politics in Brazilian Modern Cinema (University of Minnesota Press, 1997), and O olhar e a cena: Melodrama, Hollywood, Cinema Novo, Nelson Rodrigues (CosacNaify, 2003).