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How a Film Theory Got Lost and Other Mysteries in Cultural Studies:

Ray, Robert B.

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How a Film Theory Got Lost and Other Mysteries in Cultural Studies
Robert B. Ray
Foreword by James Naremore

Challenges accepted ideas about film and cultural studies.

In the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. The cinema, this theory suggested, turns on photography’s automatism, the revolutionary fact that for the first time in human history a perfect representation of the world can be produced by accident. Moreover, the camera’s gaze has the potential to transform ordinary objects—a telephone, a letter on a desk, a woman’s face—into spellbinding images, swarming with details whose precise appeal remains unpredictable. By the 1930s, this theory of photogénie (photogenia) had vanished from most serious writing about film. Why did this disappearance occur? In this collection of essays, Robert B. Ray discusses this disappearance and other mysteries like it: Why did photography and the detective story originate at exactly the same time? Why has some of the most prominent academic writing about the cinema resisted anything but "scientific" accounts of the movies? What counts as "knowledge" in film studies or any intellectual discipline? What do the French Impressionists have in common with the Sex Pistols? How did Douglas Sirk’s critically ignored melodramas become "subversive critiques of bourgeois ideology"? How did the fate of Sirk’s movies help us understand postmodernism and the avant-garde? In taking up these questions, Ray’s essays challenge certain ideas about film and cultural studies, while arguing for a mode of writing about the movies and experimental art that would respect the abidingly mysterious effect of their images and sounds.

Robert B. Ray, Director of Film and Media Studies and Professor of English at the University of Florida, is author of A Certain Tendency of the Hollywood Cinema 1930–1980 and The Avant-Garde Finds Andy Hardy. He is also a member of The Vulgar Boatmen, whose records include You and Your Sister, Please Panic, and Opposite Sex.

Contents
Foreword by James Naremore
Impressionism, Surrealism, and Film Theory: Path Dependence, or How a Tradition in Film Theory Gets Lost
The Bordwell Regime and the Stakes of Knowledge
Snapshots: The Beginnings of Photography
Tracking
How to Start and Avant-Garde
How to Teach Cultural Studies
The Best Way to Understand Postmodernism
The Mystery of Edward Hopper
Film and Literature
Conclusion

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About the Author:

Robert B. Ray, Director of Film and Media Studies and Professor of English at the University of Florida, is author of A Certain Tendency of the Hollywood Cinema 1930-1980 and The Avant-Garde Finds Andy Hardy. He is also a member of The Vulgar Boatmen, whose records include You and Your Sister, Please Panic, and Opposite Sex.

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Ray, Robert B. Author
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Book Description Indiana University Press, United States, 2001. Paperback. Book Condition: New. 229 x 153 mm. Language: English Brand New Book. In the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. The cinema, this theory suggested, turns on photography s automatism, the revolutionary fact that for the first time in human history, a perfect representation of the world can be produced by accident. Moreover, the camera s gaze has the potential to transform everyday life s most ordinary objects - a telephone, a letter on a desk, a woman s face - into spellbinding images, swarming with details whose precise appeal remains unpredictable. By the 1930s, this theory of photogenie (photogenia) had vanished from most serious writing about film. Why did this disappearance occur?In his collection of essays, Robert B. Ray discusses this mystery and others like it: Why did photography and the detective story originate at exactly the same time? Why has some of the most prominent academic writing about the cinema resisted anything but scientific accounts of the movies? What counts as knowledge in film studies or any intellectual discipline? What do the French Impressionists have in common with the Sex Pistols? How did Douglas Sirk s critically ignored melodramas become subversive critiques of bourgeois ideology ? How is what happened to Sirk s movies a way to understand Postmodernism and the avant-garde? In taking up these questions, Ray s essays challenge certain ideas about film and cultural studies, while arguing for a mode of writing about the movies and experimental art that would respect the abidingly mysterious effect of their images and sounds. Bookseller Inventory # AAJ9780253214386

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Ray, Robert B. Author
Published by Indiana University Press, United States (2001)
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Book Description Indiana University Press, United States, 2001. Paperback. Book Condition: New. 229 x 153 mm. Language: English Brand New Book. In the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. The cinema, this theory suggested, turns on photography s automatism, the revolutionary fact that for the first time in human history, a perfect representation of the world can be produced by accident. Moreover, the camera s gaze has the potential to transform everyday life s most ordinary objects - a telephone, a letter on a desk, a woman s face - into spellbinding images, swarming with details whose precise appeal remains unpredictable. By the 1930s, this theory of photogenie (photogenia) had vanished from most serious writing about film. Why did this disappearance occur?In his collection of essays, Robert B. Ray discusses this mystery and others like it: Why did photography and the detective story originate at exactly the same time? Why has some of the most prominent academic writing about the cinema resisted anything but scientific accounts of the movies? What counts as knowledge in film studies or any intellectual discipline? What do the French Impressionists have in common with the Sex Pistols? How did Douglas Sirk s critically ignored melodramas become subversive critiques of bourgeois ideology ? How is what happened to Sirk s movies a way to understand Postmodernism and the avant-garde? In taking up these questions, Ray s essays challenge certain ideas about film and cultural studies, while arguing for a mode of writing about the movies and experimental art that would respect the abidingly mysterious effect of their images and sounds. Bookseller Inventory # AAJ9780253214386

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Book Description Indiana University Press, 2001. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Contents:Foreword by James Naremore1. Impressionism, Surrealism, and Film Theory: Path Dependence, or How a Tradition in Film Theory Gets Lost2. The Bordwell Regime and the Stakes of Knowledge3. Snapshots: The Beginnings of Photography4. Tracking5. How to Start and Avant-Garde6. How to Teach Cultural Studies7. The Best Way to Understand Postmodernism8. The Mystery of Edward Hopper9. Film and LiteratureConclusionNotesIndex. Bookseller Inventory # ABE_book_new_0253214386

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Book Description Indiana Univ Press, 2001. Soft Cover. Book Condition: New. Softcover BRAND NEW still in publisher's shrinkwrap, no remainder mark, pristine new copy; 8vo; 184pp indexed & illus. Bookseller Inventory # 9622

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Book Description 2001. Paperback. Book Condition: New. 152mm x 10mm x 229mm. Paperback. In the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. The cinema, this theory suggested, turns on photography.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 184 pages. 0.249. Bookseller Inventory # 9780253214386

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Book Description Indiana University Press 2001-06-01, 2001. Book Condition: New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely. Bookseller Inventory # NU-ING-00288305

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Book Description Indiana University Press. Paperback. Book Condition: new. BRAND NEW, How a Film Theory Got Lost and Other Mysteries in Cultural Studies, Robert Ray, James Naremore, In the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. The cinema, this theory suggested, turns on photography's automatism, the revolutionary fact that for the first time in human history, a perfect representation of the world can be produced by accident. Moreover, the camera's gaze has the potential to transform everyday life's most ordinary objects - a telephone, a letter on a desk, a woman's face - into spellbinding images, swarming with details whose precise appeal remains unpredictable. By the 1930s, this theory of photogenie (photogenia) had vanished from most serious writing about film. Why did this disappearance occur?In his collection of essays, Robert B. Ray discusses this mystery and others like it: Why did photography and the detective story originate at exactly the same time? Why has some of the most prominent academic writing about the cinema resisted anything but "scientific" accounts of the movies? What counts as "knowledge" in film studies or any intellectual discipline? What do the French Impressionists have in common with the Sex Pistols? How did Douglas Sirk's critically ignored melodramas become "subversive critiques of bourgeois ideology"? How is what happened to Sirk's movies a way to understand Postmodernism and the avant-garde? In taking up these questions, Ray's essays challenge certain ideas about film and cultural studies, while arguing for a mode of writing about the movies and experimental art that would respect the abidingly mysterious effect of their images and sounds. Bookseller Inventory # B9780253214386

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Book Description Indiana University Press. Paperback. Book Condition: New. Paperback. 184 pages. Dimensions: 9.0in. x 6.0in. x 0.5in.How a Film Theory Got Lost and Other Mysteries in Cultural StudiesRobert B. RayForeword by James NaremoreChallenges accepted ideas about film and cultural studies. In the 1920s, when film criticism was as new as the cinema itself, a particular way of thinking about the movies developed in Paris. The cinema, this theory suggested, turns on photographys automatism, the revolutionary fact that for the first time in human history a perfect representation of the world can be produced by accident. Moreover, the cameras gaze has the potential to transform ordinary objectsa telephone, a letter on a desk, a womans faceinto spellbinding images, swarming with details whose precise appeal remains unpredictable. By the 1930s, this theory of photognie (photogenia) had vanished from most serious writing about film. Why did this disappearance occur In this collection of essays, Robert B. Ray discusses this disappearance and other mysteries like it: Why did photography and the detective story originate at exactly the same time Why has some of the most prominent academic writing about the cinema resisted anything but scientific accounts of the movies What counts as knowledge in film studies or any intellectual discipline What do the French Impressionists have in common with the Sex Pistols How did Douglas Sirks critically ignored melodramas become subversive critiques of bourgeois ideology How did the fate of Sirks movies help us understand postmodernism and the avant-garde In taking up these questions, Rays essays challenge certain ideas about film and cultural studies, while arguing for a mode of writing about the movies and experimental art that would respect the abidingly mysterious effect of their images and sounds. Robert B. Ray, Director of Film and Media Studies and Professor of English at the University of Florida, is author of A Certain Tendency of the Hollywood Cinema 19301980 and The Avant-Garde Finds Andy Hardy. He is also a member of The Vulgar Boatmen, whose records include You and Your Sister, Please Panic, and Opposite Sex. ContentsForeword by James NaremoreImpressionism, Surrealism, and Film Theory: Path Dependence, or How a Tradition in Film Theory Gets LostThe Bordwell Regime and the Stakes of KnowledgeSnapshots: The Beginnings of PhotographyTrackingHow to Start and Avant-GardeHow to Teach Cultural StudiesThe Best Way to Understand PostmodernismThe Mystery of Edward HopperFilm and LiteratureConclusion This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Bookseller Inventory # 9780253214386

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Book Description Indiana University Press, 2001. Paperback. Book Condition: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Bookseller Inventory # CA-9780253214386

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