Høgskolen i Innlandet
Høgskolen i Lillehammer er fra Høgskolen i Innlandet

Emnekode: FIF3013/1

Semester: Vår
Antall studenter: 8
Kull:  2016
Emne ansvarlig: Audun Engelstad

Obligatorisk litteratur- Trykt (ikke kompendiuminnhold)

Pensum kan kjøpes hos: SINN bok | bok.lillehammer@sinn.no

Stam, Robert (2000) Film Theory : An Introduction. Malden, Mass. : Blackwell.  381 sider

Kompendium (Obligatorisk pensum)

Kompendieinnholdet finnes tilgjengelig digitalt i Fronter. Skriv ut hele eller deler av innholdet selv.

Introduksjon

Elsaesser, Thomas & Warren Buckland: ”Film theory, methods, analysis.” I: Studying Contemporary American Film. A Guide to Movie Analysis, Arnold, 2002, ss 1-25

Nowell-Smith, Geoffrey: ”How films mean, or, from aesthetics to semiotics and half-way back again.” I: Christine Gledhill & Linda Williams, ed., Reinventing Film Studies, Arnold, 2000, ss 8-17

 

Sjanger

Altman, Rick: “A semantic/syntactic approach to film genre.” I: Film/Genre, BFI Publishing, 1999, ss 216-226

Steiger, Janet: ”Hybrid or Inbreed: The Purity Hypothesis and Hollywood Genre History.” I: Barry K. Grant, red., Film Genre Reader III, Austin TX, University of Texas Press, 2003, ss 185-199

Moine, Raphaëlle: “The generic identities of a film.” I: Cinema Genre. Malden, MA: Blackwell, 2008, ss. 96-130

Klinger, Barbara: “’Cinema/Ideology/Criticism’ revisited: The progressive genre.” I: Barry K. Grant, ed., Film Genre Reader III, Texas University Press, 2003, ss 75-92

Carroll, Noël: ”Film, Emotion and Genre.” I: Noël Carroll & Jinhee Choi, ed., Philosophy of Film and Motion Pictures, Oxford: Blackwell, 2006, ss 219-233

 

National cinema / transnational cinema

Crofts, Stephen: “Reconceptualising national cinema/s.” I: Valentina Vitali & Paul Willemen (eds.): Theorising National Cinema. London: BFI, 2006, 22. 44-58

Hjort, Mette “Themes of Nation.” I: Mette Hjort & Scott MacKenzie, red., Cinema and Nation. London and New York: Routledge, 2000. ss. 103-117

Higson, Andrew: “The concept of national cinema.” I: Cathrine Fowler, red., The European Cinema Reader. London: Routledge, 2002), ss 132-142

Ezra, Elisabeth & Terry Rowden: “General introduction: What is transnational cinema?.” I: Elizabeth Ezra, red.: Transnational cinema. The film reader. London: Routledge, 2006, ss. 3-12

 

Feminisme

Mulvay, Laura: ”Visual pleasure and narrative cinema”. I: Gerald Mast, Marshall Choen & Leo Braudy, ed., Film Theory and Criticism, 4th ed, Oxford University Press, 1992, ss 746-757

Martin, Angela: "Gilda didn't do any of those things you've been losing sleep over! The central women in 1940s Film Noir.” I: E. A. Kaplan, red.,Women in film noir, revised edition, London: BFI, 1998, ss. 202-228

Rich, B. Ruby: “In the name of feminist film criticism.” I: Bill Nichols, red., Movies and methods, vol II. Berkeley: UC Press, 1985, ss. 349-358

hooks, bell: ”The oppositional gaze:  black female spectators.” I: Marc Furstenau, red., The Film Theory Reader. Debates and Arguments. London: Routledge, 2010, ss. 229-241

 

Filmens essens og form

Arnheim, Rudolf: “Contents and Style.” I: Film Essays and Criticism, University of Wisconsin Press, 1977, ss 70-89 

Balazs, Bela: ”Visible man, or the culture of film.” I: Mark Furstenau, ed., The Film Theory Reader, Routledge, 2010, ss 69-79

Eikhenbaum, Boris: “Literature and cinema.” I: Stephen Bann & John E. Bowlt, ed., Russian Formalism, Barnes and Noble, 1973, ss 122-127

Eisenstein, Sergei: ”Dickens, Griffith and film today.” I: Leo Braudy & Marshall Choen, ed., Film Theory and Criticism, 6th ed., Oxford University Press, 2004, ss 436-444

Carroll, Noel: “The Specificity of Media in the Arts.” I: Robert Stam & Toby Miller, ed., Film and Teory, Blackwell, 2000: ss 39-53

Altman, Rick: ”Dickens, Griffith, and film theory today.” I: Richard Abel, ed., Silent Film, Rutgers, 1996, ss 145-162

 

Filmens forhold til realisme

Basin, Andre: ”The evolution of the language of cinema,” “The Myth of Total Cinema,” ”On the ontology of the photographic image.” I: What is Cinema,vol 1, University of California Press, 1967, ss 9-40

Krakauer, Siegfried: ”Basic concepts.” I: Theory of Film. The Redemption of Physical Reality, Oxford University Press, 1960, ss 27-40

Morgan, Daniel: ”Rethinking Bazin. Ontology and realist aesthetics.” I: Marc Furstenau, red., The Film Theory Reader. Debates and Arguments. London: Routledge, 2010, ss. 104-130

Orr, John: ”New Directions in European Cinema.” I: Elizabeth Ezra, red., European Cinema. Oxford Univeristy Press, 2004, ss. 299-317

Manovich, Lev “Synthetic realism and it’s discontents”. I: The Language of New Media, MIT Press, 2001, ss 184-204

 

Narrativ teori

Ryan, Marie-Laure: “Story/Worlds/Media.” I: Marie-Laure Ryan & Jahn Tohn, eds., Storyworlds Across Media. Universtity of Nebraska Press, 2014, ss 25-49

Altman, Rick: “What is Narrative?” I: A Theory of Narrative. New Yotk: Colimbia University Press, 2008, ss. 1-27

Bordwell, David: “Neo-structuralist narratology and the functions of filmic storytelling.” I: Marie-Laure Ryan, ed., Narrative Across Media: The Languages of Storytelling. Universtity of Nebraska Press, 2004, ss 203-219

Gunning, Tom: “Narrative discourse and the narrative system”. I: Leo Braudy and Marshall Cohen, Film Theory and Criticism, 7th ed., Oxford University Press, 2009, ss 390-401

Metz, Christian: “Notes Towards a Phenomenology of the Narrative.” I: Film Language. A Semiotics of the Cinema. Chicago: U of Chicago Press, 1974, ss .16-28

 

Filmens virkning

Cavil, Stanley: ”The World Viewed.” I: Nöell Carroll & Jinhee Choi, ed., Philosophy of Film and Motion Pictures, Blackwell, 2006, ss 67-78

Sobchack, Vivian: Carnal Thoughts: Embodiment and Moving Image Culture, University of California Press, 2004: ss 1-9, 53-84

Andrew, Dudley: “The Neglected Tradition of Phenomenology in Film Theory.” I: Bill Nichols, ed., Movies and Methods, vol II. Univeristy of California Press, 1984, ss 625-631

Grodal, Torben: “Emotions, Cognition, and Narrative Patterns in Film.” I: Carl Plantiga & Greg M. Smith, red., Passionate Views. Film, Cognition, and Emotion. Baltimore: John Hopkins UP, 1999, ss. 127-145

 

Fjernsynets form

Brandon, Charlotte “What is the ‘television’ of television studies?” I: Horace Newcomb, ed., Television.The Critical View, 6th ed., Oxford University Press, 2000, ss 609-628

Brundson, Charlotte “Problems of Quality.” I: Screen, 1990, vol 31, no 1, ss 67-90

Ellis, John: “Working through. Television in the age of uncertainty.” I: Seeing Things. Television in the Age of Uncertainty, I. B. Tauris, 2000, ss 74-90

Caldwell, John T.: ”Modes of production. The televisual apparatus”. I: Televisuality. Style, Crisis, and Authority in American Television, Rutgers University Press, 1994, ss 73-104

 

Fjernsyn og kvalitet

Dunleavy, Trisha: “Drama and ‘TVIII’: Innovation at the ‘High-End’”. I: Television Drama. Form, Agency Innovation, Palgrave, 2009, ss 198-232

Jaramillo, Deborah H.: “RescuingTelevision from ‘the Cinematic’: The Perils of Dismissing Television Style.” I: Jason Jacobs & Steven Peacock, red., Television Aesthetics and Style, New York: Bloomsbury, 2013, ss. 67-75

Mittell, Jason: “Characters.” I: Complex TV. The Poetics of Contemporary Storytelling. New York: New York University Press, 2015, ss. 118-163

Obligatorisk litteratur – åpne nettressurser og e-ressurser fra HINN Lillehammers databaser. Trykk på lenke for å få tilgang til litteraturen

Feminisme

Gaines, Jane M.: ”Film History and the Two Presents of Feminist Film Theory.” I: Cinema Journal 44, No,1, Fall, 2004, ss. 113-119

Fjernsynets form

Mitten, Jason: ”A Cultural Approach to Television Genre Theory.” I: Cinema Journal, 2001, vol. 40, no. 3, ss 3-24

Fjernsyn og kvalitet

Cardwell, Sarah: “Television Aesthetics.” I: Critical Studies in Television, vol 1, no 1, 2006, ss 72-80

Geraghty, Christine: “Aesthetics and quality in popular television drama.” I: International Journal of Cultural Studies, vol. 6, no. 1, 2003, ss 25-45

Supplerende

Ruston, Richard & Gary Bettinson, What is Film Theory. An Introduction to Contemporary Debates. Berkshire, UK: Open University Press, 2010. 209 sider.

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