- Subject index
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.
Chapter 12: Cinema and Art History: Film has two Eyes
Cinema and Art History: Film has two Eyes
During the 1970s and 1980s, Film Studies used models derived from literary theory, psychoanalysis, and Marxist criticism. By the 1990s, it had become apparent that these methods privileged a literary/verbal/textual-over a perceptual/visual/object-based training. One brief example might illustrate the point: whereas a film analyst or a literary theorist would teach about film narrative as a system of differences and repetitions, an art historian may require students to hold a textile in their hands to assess its weight, or to look at an image for hours to decide about the quality of lighting. Thus, for art historians, storytelling does count, but equally important, if not more so, are the visual ...