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Since publication of the first edition in 1974, Leo Braudy and Marshall Cohen's Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Now in its seventh edition, this landmark text continues to offer outstanding coverage of more than a century of thought and writing about the movies. Incorporating classic texts by pioneers in film theory--including Rudolf Arnheim, Siegfried Kracauer, and Andre Bazin--and cutting-edge essays by such contemporary scholars as David Bordwell, Tania Modleski, Thomas Schatz, and Richard Dyer, the book examines both historical and theoretical viewpoints on the subject. Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. Reorganized into eight sections--each comprising the major fields of critical controversy and analysis--this new edition features reformulated introductions and biographical headnotes that contextualize the readings, making the text more accessible than ever to students, film enthusiasts, and general readers alike. The seventh edition also integrates exciting new material on feminist theory, queer cinema, and global cinema, as well as a new section, "Digitization and Globalization," which engages important recent developments in technology and world cinema. A wide-ranging critical and historical survey, Film Theory and Criticism remains the leading text for undergraduate courses in film theory. It is also ideal for graduate courses in film theory and criticism. ABOUT THE EDITORS Leo Braudy is University Professor and Bing Professor of English at the University of Southern California. Among other books, he is author of Native Informant: Essays on Film, Fiction, and Popular Culture (OUP, 1991), The Frenzy of Renown: Fame and Its History (OUP, 1986), and most recently, From Chivalry to Terrorism: War and the Changing Nature of Masculinity (2003). Marshall Cohen is University Professor Emeritus and Dean Emeritus of the College of Letters, Arts, and Sciences at the University of Southern California. He is coeditor, with Roger Copeland, of What Is Dance? Readings in Theory and Criticism (OUP, 1983) and founding editor of Philosophy and Public Affairs.

Table of Contents
Preface
I. FILM LANGUAGE
VSEVOLOD PUDOVKIN From Film Technique
[On Editing]
SERGEI EISENSTEIN From Film Form
Beyond the Shot [The Cinematographic Principle and the Ideogram]
The Dramaturgy of Film Form [A Dialectic Approach to Film Form]
ANDRÉ BAZIN From What is Cinema?
The Evolution of the Language of Cinema
CHRISTIAN METZ From Film Language
Some Points in the Semiotics of Cinema
GILBERT HARMAN Semiotics and the Cinema: Metz and Wollen
STEPHEN PRINCE The Discourse of Pictures: Iconicity and Film Studies
DANIEL DAYAN The Tutor-Code of Classical Cinema
WILLIAM ROTHMAN Against "The System of Suture"
II. FILM AND REALITY
SIEGFRIED KRACAUER From Theory of Film
Basic Concepts
ANDRÉ BAZIN From What is Cinema?
The Ontology of the Photographic Image
The Myth of Total Cinema
De Sica: Metteur-en-scene
RUDOLF ARNHEIM From Film As Art
The Complete Film
JEAN-LOUIS BAUDRY The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema
NOEL CARROLL From Mystifying Movies
Jean-Louis Baudry and "The Apparatus"
III. THE FILM MEDIUM: IMAGE
SIEGFRIED KRACAUER From Theory of Film
The Establishment of Physical Existence
BÉLA BALÁSZ From Theory of the Film
The Close-up
The Face of Man
RUDOLF ARNHEIM From Film as Art
Film and Reality
The Making of a Film
JEAN-LOUIS BAUDRY Ideological Effects of the Basic Cinematic Apparatus
NOEL CARROLL Defining the Moving Image
D. N. RODOWICK Elegy for Film
IV. THE FILM MEDIUM: SOUND
SERGEI EISENSTEIN, VSEVELOD PUDOVKIN, and GRIGORI ALEXANDROV Statement on Sound
CHRISTIAN METZ Aural Objects
MARY ANN DOANE The Voice in the Cinema: The Articulation of Body and Space
MICHEL CHION From The Voice in Cinema
JOHN BELTON Technology and Aesthetics of Film Sound
RICK ALTMAN From Sound Theory / Sound Practice
V. FILM NARRATIVE AND THE OTHER ARTS
ANDRÉ BAZIN From What is Cinema?
Theater and Cinema
LEO BRAUDY From The World in a Frame
Acting: Stage vs. Screen
DUDLEY ANDREW From Concepts in Film Theory
Adaptation
TOM GUNNING From D.W. Griffith and the Origins of American Narrative Film
Narrative Discourse and the Narrator System
JERROLD LEVINSON Film Music and Narrative Agency
PETER WOLLEN Godard and Counter Cinema: Vent d'est
CARL PLANTINGA Notes on Spectator Emotion and Ideological Film Criticism
VI. THE FILM ARTIST
ANDREW SARRIS Notes on the Auteur Theory in 1962
PETER WOLLEN From Signs and Meaning in the Cinema
The Auteur Theory [Howard Hawks and John Ford]
ROLAND BARTHES The Face of Garbo
MOLLY HASKELL From Reverence to Rape
Female Stars of the 1940s
GILBERTO PEREZ From The Material Ghost
[On Keaton and Chaplin]
RICHARD DYER From Stars
THOMAS SCHATZ From The Genius of the System
The Whole Equation of Pictures
JEROME CHRISTENSEN From America's Corporate Art: The Studio Authorship of Hollywood Motion Pictures
VII. FILM GENRES
LEO BRAUDY From The World in a Frame
Genre: The Conventions of Connection
RICK ALTMAN From Film/Genre
A Semantic/Syntactic/Pragmatic Approach to Genre
Conclusion: A Semantic/Syntactic/Pragmatic Approach to Genre
PAUL SCHRADER Notes on Film Noir
ROBIN WOOD Ideology, Genre, Auteur
LINDA WILLIAMS Film Bodies: Gender, Genre, and Excess
CAROL CLOVER From Men, Women, and Chainsaws
CYNTHIA A. FREELAND Feminist Frameworks for Horror Films
DAVID BORDWELL The Art Cinema as a Mode of Film Practice
VIII. FILM: SPECTATOR AND AUDIENCE
JEAN COMOLLI and JEAN NARBONI Cinema/Ideology/Criticism
CHRISTIAN METZ From The Imaginary Signifier
Identification, Mirror
The Passion for Perceiving
Disavowal, Fetishism
LAURA MULVEY Visual Pleasure and Narrative Cinema
TANIA MODLESKI From The Women Who Knew Too Much: Hitchcock and Feminist Theory
The Master's Dollhouse: Rear Window
TOM GUNNING An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator
RICHARD DYER From White
Lighting for Whiteness
MANTHIA DIAWARA Black Spectatorship: Problems of Identification and Resistance
bell hooks The Oppositional Gaze: Black Female Spectators
LEILANI NISHIME The Mulatto Cyborg: Imaging a Multiracial Future
IX. DIGITIZATION
LEV MANOVICH From The Language of New Media
Synthetic Realism and Its Discontents
The Synthetic Image and Its Subject
Digital Cinema and the History of a Moving Image
PHILIP ROSEN From Change Mummified
JOHN BELTON The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary
KRISTEN WHISSEL The Digital Multitude
KRISTEN DALY Cinema 3.0: The Interactive-Image
HENRY JENKINS Quentin Tarantino's Star Wars? Digital Cinema, Media Convergence, and Participatory Culture
X. GLOBALIZATION
DUDLEY ANDREW Time Zones and Jetlag: The Flows and Phases of World Cinema
ELLA SHOHAT and ROBERT STAM From Unthinking Eurocentrism: Multiculturalism and the Media
Stereotype, Realism, and the Struggle Over Representation
STEPHEN CROFTS Reconceptualizing National Cinema(s)
MITSUHIRO YOSHIMOTO The Difficulty of Being Radical: The Discipline of Film Studies and the Postcolonial World Order
REY CHOW Film and Cultural Identity
YINGJIN ZHANG Chinese Cinema and Transnational Film Studies
WIMAL DISSANAYAKE Issues in World Cinema
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