• Summary
  • Contents
  • 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.

Formalist Tendencies in Film Studies
Formalist tendencies in film studies
WarrenBuckland

Formalism, both inside and outside Film Studies, is a rich and variegated paradigm. In Film Studies, the formalist tradition covers everything from the Russian formalists (see Eagle, 1981) to Rudolf Arnheim's pioneering Film as Art (1957), Christian Metz's film semiotics (1974a; 1974b; Buckland, 1999); Noël Burch's study of film's formal principles (1981); Edward Branigan's description of point of view in narrative cinema (1984); Raymond Bellour's shot-by-shot analyses of film segments (2000); Barry Salt's statistical style analysis (1974; 1992; 2004); David Bordwell's film poetics (1981; 1988a; 1989: ch.11; 1993; 1998; 2000); Kristin Thompson's neoformalism (1981; 1988); Noël Carroll's functional analysis of film form (1998); plus the productive tradition of mise en scène and auteur criticism (Cahiers du ...

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