• 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.

Film and (as) Modernity
Film and (as) modernity

Perhaps the most characteristic bête noire of 1970s ‘materialist’ film theory was that stalwart stereotype, the ‘classic realist text’ (MacCabe, 1980: 152–62). Though the more astute of the Screen gang were perfectly aware how ‘resistant’ such a film text could be, nevertheless a pervasive supposition of the era was that films constructed along industrial, ‘Hollywood’ lines could not ‘deal with the real as contradictory’, and moreover reinscribed the subject ‘in a relation of dominant specularity’ (MacCabe, 1980: 157). Which was not going quite so far as to say, with Michael Fried, that ‘the cinema is not, even at its most experimental, a modernist art’ (1998: 164); but it was to reserve the noble epithet – ‘modernist’ – only ...

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