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Despite changes in the media landscape, film remains a vital force in contemporary culture, as do our ideas of what "a movie" or "the cinematic" are. Indeed, we might say that the category of film now only exists in theory. Whereas film-theoretical discussion at the turn of the 21st century was preoccupied, understandably, by digital technology's permeation of virtually all aspects of the film object, this volume moves the conversation away from a focus on film's materiality towards timely questions concerning the ethics, politics, and even aesthetics of thinking about the medium of cinema. To put it another way, this collection narrows in on the subject of film, not with a nostalgic sensibility, but with the recognition that what constitutes a film is historically contingent, in dialogue with the vicissitudes of entertainment, art, and empire. The volume is divided into six sections: Meta-Theory; Film Theory's Project of Emancipation; Apparatus and Perception; Audiovisuality; How Close is Close Reading?; and The Turn to Experience.
Kyle Stevens is the author of Mike Nichols: Sex, Language, and the Reinvention of Psychological Realism. His work has appeared in Critical Inquiry, Cultural Critique, Journal of Cinema and Media Studies, Adaptation, Critical Quarterly, New Review of Film and Television Studies, World Picture, and several edited collections.
Introduction: The Very Thought of TheoryKyle Stevens Section I: Meta-theory Chapter 1A Machine for Killing Time Tom Gunning Chapter 2Interested and Disinterested Judgments: Film Theory and the Valences of the Aesthetic Daniel Morgan Chapter 3Moral Philosophy and the Moving Image Brian Price Chapter 4Film|Video|Essay Domietta Torlasco Chapter 5The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory Malcolm Turvey Chapter 6In Defense of Psychoanalytic Film TheoryDamon R. Young Section II: Film Theory's Project of Emancipation Chapter 7Film Theory as Ideology Critique (After Trump) Nico Baumbach Chapter 8Buddhism and Film Theory: Beyond a Legacy Victor Fan Chapter 9Feminist Film Theory on the Brink of Laughter Maggie Hennefeld Chapter 10Theory for the Masses; or, Toward a Vernacular Criticism Noah Isenberg Chapter 11"The Fold of Old Wounds": Daughters of the Dust, Eve's Bayou, and Mississippi Damned as Cinematic Black Feminist Theory Kara Keeling Section III: Apparatus and Perception Chapter 12Lesbian Photographers: Affect and Cinematic Self-DiscoveryMarta Figlerowicz Chapter 13Notes on Some Forms of Repetition Homay King Chapter 14Empiricism and Film Theory: On the Moviola's Political Ontology Davide Panagia Chapter 15Film Theory and Machine Vision Antonio Somaini Chapter 16Headphones, Cinematic Listening, and the Frame of the SkullKyle Stevens Section IV: Audiovisuality Chapter 17The Audio-Visual Non-relation and the Digital Break Luka Arsenjuk Chapter 18The composer of musique concrète wields a cameraMichel ChionTranslated by Claudia Gorbman Chapter 19The Many Bodies of the Dancer-Actress: Towards A Kinesics of Film Acting Usha Iyer Chapter 20Documentary Listening Habits: From Voice to AudibilityPooja Rangan Chapter 21Audiovisual Rhythm and its Spectator: Moonlight as Example Rick Warner Section V: How Close is Close Reading? Chapter 22Contesting the White Gaze: Black Film and Post-Cinematic SpectatorshipCaetlin Benson-Allott Chapter 23In Other Words: Film and the Spider Web of Description Timothy Corrigan Chapter 24Women's Hands and the Cinematic Cut: The Work of Montage in Man With a Movie Camera, Klute, and The Piano David Gerstner Chapter 25Standing Up Too Close or Back Too Far? A Slanted History of Close Film AnalysisAdrian Martin Chapter 26On Fire: When Fashion Meets Cinema Marketa Uhlirova Chapter 27When and Where Does a Film Begin? Putting Films in Context Amy Villarejo Section VI: The Turn to Experience Chapter 28The Affective Turnabout's Fair Play Sarah Keller Chapter 29An Invention With a Future: Collective Viewing, Joint Deep Attention, and the ongoing Value of the Cinema Julian Hanich Chapter 30Those Who Have: The Impersonality of Film TheoryJohn David Rhodes Chapter 31On the Impersonality of Experience: Psychoanalysis, Interiority, and the Turn to Affect Scott Richmond Chapter 32Cinematic Experience: From Moving Images to Virtual Reality Robert Sinnerbrink
Stevens has done the field a great service in prompting and gathering such a rich collection of essays.