東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Representation, meaning, and experie...

Allen, Richard William.

Linked to FindBook

Google Book

Amazon

博客來

Representation, meaning, and experience in the cinema: A critical study of contemporary film theory.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Representation, meaning, and experience in the cinema: A critical study of contemporary film theory./
Author:	Allen, Richard William.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1989,
Description:	354 p.
Notes:	Source: Dissertation Abstracts International, Volume: 50-10, Section: A, page: 3091.
Contained By:	Dissertation Abstracts International50-10A.
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9007107

Representation, meaning, and experience in the cinema: A critical study of contemporary film theory.
Allen, Richard William.

Representation, meaning, and experience in the cinema: A critical study of contemporary film theory. - Ann Arbor : ProQuest Dissertations & Theses, 1989 - 354 p.

Source: Dissertation Abstracts International, Volume: 50-10, Section: A, page: 3091.

Thesis (Ph.D.)--University of California, Los Angeles, 1989.

This study is an analytical criticism of the epistemological foundations of contemporary film theory. The arguments of contemporary film theory are unraveled by charting the transformation of film theory into critical theory through successive paradigms of knowledge: the aesthetic theory of Andre Bazin; the semiotic and psychoanalytic theory of Christian Metz; and the post-structuralist critical theory of Stephen Heath inspired by Althussarian Marxism. It is argued that contemporary film theory read Bazinian film theory in a way that fostered Bazin's critical illusions at the expense of his critical insights. The epistemological assumptions of contemporary film theory are traced to their foundations in phenomenological epistemology and the critique of epistemology articulated within Lacanian psychoanalysis and Jacques Derrida's "deconstructive" phenomenology. Drawing on the later philosophy of Ludwig Wittgenstein, it is argued that the project of phenomenology is an incoherent one for it is dependent upon a naively realist epistemology, and that the critique of epistemology is equally indefensible for it presupposes the truth of phenomenology in order to make sense. This general criticism of the epistemological incoherence which underlies the critical theory from which contemporary film theory has drawn its arguments demonstrates the necessity of, and provides the basis for, a reconstruction of film theory. First, Bazin's theoretical insight into the nature of cinematic representation is elucidated and defended in the context of the suggestion that cinematic representation, while a form of aesthetic experience, transforms the character of traditional aesthetic experience. Secondly, drawing on the writings of Mikhail Bakhtin and the genre theory of Rick Altman, Bazin's critical insight into the contextual character of meaning in the cinema is defended and developed with reference to classical Hollywood cinema. Using film noir as a case study, it is argued that classical Hollywood cinema inscribes the contradictions of social experience as a part of its very form in a way that fails to be captured by the conception of classical cinema which is governed by the epistemological assumptions of contemporary film theory.Subjects--Topical Terms:

2122736
Film studies.

Representation, meaning, and experience in the cinema: A critical study of contemporary film theory.
LDR:03172nmm a2200277 4500 001 2160719
005 20180726113954.5
008 190424s1989 ||||||||||||||||| ||eng d
035 $a (MiAaPQ)AAI9007107
035 $a AAI9007107
040 $a MiAaPQ $c MiAaPQ
100 1 $a Allen, Richard William. $3 3348651
245 1 0 $a Representation, meaning, and experience in the cinema: A critical study of contemporary film theory.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1989
300 $a 354 p.
500 $a Source: Dissertation Abstracts International, Volume: 50-10, Section: A, page: 3091.
500 $a Chair: Nicholas Browne.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 1989.
520 $a This study is an analytical criticism of the epistemological foundations of contemporary film theory. The arguments of contemporary film theory are unraveled by charting the transformation of film theory into critical theory through successive paradigms of knowledge: the aesthetic theory of Andre Bazin; the semiotic and psychoanalytic theory of Christian Metz; and the post-structuralist critical theory of Stephen Heath inspired by Althussarian Marxism. It is argued that contemporary film theory read Bazinian film theory in a way that fostered Bazin's critical illusions at the expense of his critical insights. The epistemological assumptions of contemporary film theory are traced to their foundations in phenomenological epistemology and the critique of epistemology articulated within Lacanian psychoanalysis and Jacques Derrida's "deconstructive" phenomenology. Drawing on the later philosophy of Ludwig Wittgenstein, it is argued that the project of phenomenology is an incoherent one for it is dependent upon a naively realist epistemology, and that the critique of epistemology is equally indefensible for it presupposes the truth of phenomenology in order to make sense. This general criticism of the epistemological incoherence which underlies the critical theory from which contemporary film theory has drawn its arguments demonstrates the necessity of, and provides the basis for, a reconstruction of film theory. First, Bazin's theoretical insight into the nature of cinematic representation is elucidated and defended in the context of the suggestion that cinematic representation, while a form of aesthetic experience, transforms the character of traditional aesthetic experience. Secondly, drawing on the writings of Mikhail Bakhtin and the genre theory of Rick Altman, Bazin's critical insight into the contextual character of meaning in the cinema is defended and developed with reference to classical Hollywood cinema. Using film noir as a case study, it is argued that classical Hollywood cinema inscribes the contradictions of social experience as a part of its very form in a way that fails to be captured by the conception of classical cinema which is governed by the epistemological assumptions of contemporary film theory.
590 $a School code: 0031.
650 4 $a Film studies. $3 2122736
650 4 $a Philosophy. $3 516511
690 $a 0900
690 $a 0422
710 2 $a University of California, Los Angeles. $3 626622
773 0 $t Dissertation Abstracts International $g 50-10A.
790 $a 0031
791 $a Ph.D.
792 $a 1989
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9007107