Film Theory and Criticism: Introductory Readings

by Leo Braudy (Editor), Marshall Cohen (Editor), Robert Warshow (Contributor)

Since publication of the first edition in 1974, Film Theory and Criticism has been the most widely used and cited anthology of critical writings about film. Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies.

Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." 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.

The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."

Genres: Film, Nonfiction, Theory, Media Tie In, Reference, Essays, Criticism

960 pages, Paperback

First published January 1, 1974

About the author

Leo Braudy is among America's leading cultural historians and film critics. He currently is University Professor and Leo S. Bing Chair in English and American Literature at the University of Southern California. He lives in Los Angeles.

Reviews

[Amy]

True story: I got a D in my first year film class 20 years ago, never studied any film production and somehow managed to become an award winning independent documentary filmmaker. 11 years after starting down this career path I decided it was time to start brushing up on the so called essential readings. My incredible dIrector of photography DID go to film school and gave me his 45 year old copy of this book which supposedly is the go to theory and criticism. Film is not an art form that ages well. Not only does the equipment change every few years, the expectations by audiences of aesthetics and storytelling does as well. So written in the 70’s means most of the book was tremendously outdated and irrelevant. It would be interesting to compare it to a recent edition.

[Carrie]

I'm so sick of Lacan...

[Roy Llh]

The bible.

[Alborz Taheri]

کتاب «نظریّۀ و نقد فیلم – زبانِ سینما» بخشی از کتابِ اصلی برادی و کوئن است. گویا قرار بوده که کتابِ برادی و کوئن در نُه جلد ترجمه و چاپ شود که فقط دو جلد آن ترجمه و چاپ شده است.
این کتاب مجموعه مقالاتی از پودوفکین، آیزنشتاین، بازن، متز و چندی دیگر از منتقدان و نظریّه‌پردازان حوزۀ سینما است. گزینش مقاله‌ها به نحوی بوده که محوریّت اصلی آن‌ها بحث در رابطه با زبانِ سینما و چگونگی پیدایش نظریّات مختلف در رابطه با این مقوله را پیش می‌کشد. این‌که -به طور مثال- چطور بحث در رابطه با زبانِ سینما را می‌توان در بحث تدوینِ آیزنشتاین، میزانسنِ بازن، نگاهِ سوسوریِ متز و یا نگاه مارکسیستی-لکانیِ دایان و غیره یافت. ویژگی دیگر کتاب این است که برخی مقالات در عین مطرح کردن یک ایدۀ جدید در نقد مقالۀ قبلی است. به طور مثال راثمن در عین آن‌که نظامِ توالی دو نمایی دایان و اودار-نظام دوخت (بخیّه)- را زیر سوال می‌برد، پیشنهادِ جدیدی در رابطه با تحلیل رابطۀ تماشگر-تصویر مبتنی بر توالی سه نما را مطرح می‌کند. در کل روندِ مقالات جذّاب است و البته پیوندِ جدّی با زبان‌شناسی و روان‌شناسی دارد.
امّا مشکل اساسی کتاب در ویراستاری و ترجمۀ برخی مقالات است. برخی از مقالات بسیار بد ترجمه‌ شدند و کل مجموعه نیز، به خصوص به این دلیل که از ترجمۀ مترجم‌های مختلف استفاده کرده است، به یک ویراستاری جدّی نیاز دارد. خودِ کتاب و مقالات آن قطعاً ارزش خواندن دارند، امّا ترجمه و ویراستاری بد کاملاً باعث افت مجموعه شده است.

[Bernie4444]

May add a new dimension to the films we watch.

Each edition of the book has a different addition so if you are looking for a particular film you may want to peruse the book in person at the table of contents goes by article, not film title.

However, the basic nature of the book stays the same from one edition to the next.

Talk about looking at clouds from both sides now, here is a short list of what is covered.

Theory of film
What is Cinema?
Film as art
Film as film
The creative use of reality
Metaphors on Vision
Film technique
Film form
The evolution of language and Cinema
CinemaScope: before and after
Christian Metz and semiology in the cinema
Contribution of film to semiotics
Style and medium
The establishment of physical existence
The making of the film
The world viewed
Basic film aesthetics
The film: a psychological study
Theater and cinema
From Dickens, Griffith, and the film today
From novels to film
Narration and narrativity in film
The world in the frame
The imagination of disaster
The mummy’s pool
Comedy’s greatest era
Signs in meaning in cinema
Howard Hawks, Storyteller
Man with the camera.
The face of Garbo
Technology and ideology and cinema
Film and visual pleasure

[Maciej]

THE SYNTHETIC IMAGE AND ITS SUBJECT

As evidenced by the numerous advances that have been made since the writing of this article, CGI is not “too perfect:” just “too clean” for the film. Obviously, this is what Manovich meant, but he conflates the definitions, and the definition of photorealism as relating to film characteristics is, if more precise, not the same as the conventional definition used by other theorists that he argues against.

Regardless of that, outside of film, the CG image is still imperfect. Even if CG images were subject to the flaws that are caused by the camera (i.e. focus, grain), they would still appear unrealistic due to the quality of models, shadows, etc. It’s oversimplistic and sophistical to reduce the differences between CGI and live-action to merely these filmic characteristics. Moreover, if animations, for example, are “too perfect,” that does not mean they are “perfect.” They are imperfect because they are unrealistic. Manovich again exploits a definition: “perfect” has indeed been taken sometimes to mean lacking in grisly, realistic detail—robotic—but this definition is not relevant to criticism.

[Michael Skora]

A good number of articles weren't terribly fascinating, but several in the last three chapters, "Spectator and Audience," "Digitization," and "Globalization," were especially informative on how film constructs hegemonic ideology. More impressed by the articles that stressed Althusserian rather than Freudian analysis. Then again I'm not sure whether my understanding of Freud so far is a caricature of his theories.

[Nat]

I prefer this, the 5/e, to the newer editions, but there are still some critical essays missing.

[Annie]

This is the book you need if you’re going to study film theory, it’s not the only book you need, not by a long shot, but this should definitely be on your shelf. What more can I say?

[Kristopher Pistole]

Read for grad school

Laura Mulvey rules.

[Trent]

Like many anthologies, a mixed bag

[Jared]

1974 1st edition

[Tanner Pratt]

I read thousands of pages for this evil film and new media class that I can’t log on Goodreads so you better believe I’m logging all my textbooks

[Elliot T.]

Nice variety of essays, from many different time periods and different schools of thought. If you had to own 3 books about film, this would be one of them (Bordwell's book on narration and Stam's book on the history of Film Theory would be the others). Sure, there are "important" film theorists like Bazin that you should get to know, but its better to identify all the major theoretical approaches before getting into one author.

[Emma Fentiman]

Aaaaaaaah! Had to read this in my third year at uni. I suppose it contains all the significant writings on film from the last 100 years and writes IN DETAIL on all the changes and isms that film criticism has gone through. Doesn't mean that it's enjoyable.

[Natasha]

Despite that fact I didn't really read much of it while actually taking the class, I do now. So interesting to see what film really does to us and what we do to film.

[Evan]

Good sampling of writing.

[David]

An excellent anthology of must-read material from preeminent theorists and critics. It's been my bible for the last six months.

[Jenny]

Whenever I feel stupid about film I crack this bad boy open.

[Jessica]

Everything you need to know to begin your journey into film theory.

[Ke]

To my knowledge, this book contains an extensive number of seminal articles on film criticism.

[Don]

Fantastic variety of essays collected here.

[Brent]

I took this class circa 1987-8, so it's not this edition we read, but, maybe the 3rd edition.

[Adam]

Solid intro text, very diverse and informative

[Mills College Library]

791.43 F4878 2016

[Sharone]

Minus one star for a bizarre and unacceptable number of typos.