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Both a history of film theory and an introduction to the work of the most important writers in the field, Andrew's volume reveals the bases of thought of such major theorists as Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, and Metz.
- Sales Rank: #589297 in eBooks
- Published on: 1976-04-15
- Released on: 1976-04-15
- Format: Kindle eBook
Review
"This history of film theory will enrich our discipline and remain an important source of both information and understanding for some time to come."--Quarterly Review of Film Studies
"Andrew's guidebook...is the first in English to cover a relatively broad range of figures."--Sight and Sound
"Sure to whet one's appetite for the contemporary French film theory of Mitry, Metz, Ayfre and Agel."--Film Criticism
"The book is excellent."--Ivan Pedro Murily, Southern Illinois University
From the Back Cover
The Major Film Theories is designed for anyone with a serious interest in the art of film. It is both a history of film theory and an introduction to the work of the most important and influential writers on the subject- Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry and Metz.
About the Author
J. D. Andrew is at University of Iowa.
Most helpful customer reviews
5 of 6 people found the following review helpful.
Nice Intro but incomplete
By Q
First, the strengths: Andrew gives intelligent summaries and discussion of some major historical film theorists, with chapters on Munsterberg, Arnheim, Eisenstein, Balazs, Kracauer, Bazin, Mitry, Metz, and Ayfre, and Agel. He focuses on the debate between the formalists (who believe film art is defined by its formal properties including editing, framing, mise-en-scene, lighting, and etc.) and the realist tradition (who believe that film art is defined by its basis in photography, a physical impression of its subject). The highlight is undoubtedly Andrew's excellent discussion of the great French critic Andre Bazin, which is not surprising since Andrew's Ph.D thesis was on Bazin. The weaknesses: This was published in 1976, and so it completely ignores the vast body of criticism published since then, especially feminism, and the influence of Lacan and psychoanalytic theory. Still, this is not a bad starting point for students of film theory.
7 of 8 people found the following review helpful.
exceptional introduction!
By Eduardo Navas
D.Andrew has done an excellent job explaining the major film theories that have helped legitimize film as an art form. Not only does he explain the different ideological camps of the early twentieth century, but most importantly he clearly connects them to contemporary structural french theorists. it is an excellent introduction for the film theorist novice.
I also strongly recommend reading "The subject of Semiotics" by Kaja Silverman and "Superstructuralism" by Richard Harland. Both of these books will help understand why cinema is probably the most powerful medium through which art and mass consumerist culture are able to collide effectively thereby creating a powerful arena to experience meaning.
It is truly an essential book that should be read by anyone who is interested in thinking, period.
11 of 12 people found the following review helpful.
Film philosophies
By Pumpkin King
J. Dudley Andrew covers the ideas of 10 major theoreticians of film in this readable introduction (Hugo Munsterberg, Rudolf Arnheim, Sergei Eisenstein, Bela Balazs, Siegfried Kracauer, Andre Bazin, Jean Mitry, Christian Metz, Amedee Ayfre, Henri Agel). It is great for readers who are interested in the development of film theory and want a manageable book that follows it through in a structured way, and discusses each person's views in the context of previous thinkers'. Each chapter considers four topics of each theorist: The basic material of film, the process that gives the material significance, the forms, and the purpose or value of film. It doesn't cover much beyond the 1970s, but as an introduction, it sufficiently covers giant figures like Eisenstein, Kracauer, and Bazin.
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