Film Theory: An Introduction

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The discussion of Bakhtin was somewhat unfocused, however, and I was never sure exactly how his ideas were being applied. Sissejuhatus juba rohkem kui sajandivanuse filmiteooria ajalukku ei saa ilmselgelt üks lihtne lugemine olla. Literature through Film: Realism, Magic, and the Art of Adaptation (Blackwell, 2005) offered a historicized account of key trends in the history of the novel – the proto-magic realism of a Cervantes, the colonialist realism of a Defoe (and his critics), the parodic reflexivity of a Henry Fielding or Machado de Assis, or proto-cinematic perspectivalism of a Flaubert, the neurotic narrators of a Dostoyevsky or a Nabokov, the feminist experimentations of Clarice Lispector and Marguerite Duras, and the “marvelous latin-american real” of Mario de Andrade and Alejo Carpentier, all as seen through the many filmic adaptations – both “faithful” and revisionist – of their work.

Stam has published widely on French literature, comparative literature, and on film topics such as film history and film theory. A 1983 Screen essay “Colonialism, Racism, and Representation” brought post-structuralist theory to bear on issues of representations of colonial history and racial oppression. Mobilizing Fictions: The Gulf War, the Media and the Recruitment of the Spectator," Public Culture Vol. The other thing I found appealing about this book was the inclusion of some of the theories of Mikhail Bakhtin, my favorite literary critic. Transnationalizing Comparison: The Uses and Abuses of Cross-Cultural Analogy," co-written with Ella Shohat.Another field of intervention for Stam has been in cultural theory, especially in Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (Johns Hopkins, 1989), the first book-length study to extrapolate for film and cultural studies Bakhtin's conceptual categories, such as “translinguistics” and “dialogism” and the “carnivalesque. Anyway, I found myself skimming over the post-silent sections of the book and only reading long passages when Stam hit on an area that I was particularly interested in.

Stam's Subversive Pleasures; Bakhtin, Cultural Criticism and Film was a Choice "Outstanding Academic Book of the Year" in 1989 and Runner-Up for the Katherine Singer Kovács "Best Film Book" Award in the same year. C. Berkeley in 1977, after which he went directly to New York University, where he has been teaching ever since. Film Theory: An Introduction was published in tandem with two Blackwell anthologies co-edited with Toby Miller both from 2000: Film and Theory and A Companion to Film Theory. Stam on suutnud aga päris hästi luua loogika ja struktuuri autorite ja igasuguste -ismide virvarris, tuues asjakohaseid filminäiteid ja lektüürisoovitusi sügavamks süvenemiseks.In 2009, he was named a Fellow at the Shelby Cullom Davis Center for Historical Studies at Princeton, where he presented a paper on "The Red Atlantic".

Stam has also been a major figure within the “transtextual turn” in adaptation and intertextuality studies. Unthinking Eurocentrism: Multiculturalism and the Media (co-authored with Ella Shohat) won the Katherine Singer Kovács "Best Film Book" Award in 1994. Their 1985 Screen essay “The Cinema After Babel: Language, Difference, Power,” introduced a Bakhtinian “translinguistic” and trans-structuralist turn into the study of language difference, translation, and postsynchronization in the cinema.In 2003, Stam was honored at the Curitiba Film Festival for his "Noteworthy Service to Brazilian Cinema". Other material covered includes film adaptations of works of literature and analogies between literary and film criticism.

Race in Translation: Culture Wars Around the Postcolonial Atlantic (NYU, 2012), finally, dealt with the postwar debates about colonialism, postcoloniality, race, multiculture and Affirmative Action in three cultural zones—the U. Stam has also been an advocate-exegete of semiotics, poststructuralism, and film theory in such books as New Vocabularies in Film Semiotics: Structuralism, Poststructuralism, and Beyond (Routledge, 1992) and Film Theory: An Introduction (Blackwell, 2000), the first book to recount the history of film theory from its beginnings to the present within a transnational framework that included Latin America, Africa and Asia alongside Europe and North America. In 2006, he co-taught (with Ella Shohat) a seminar on "The Culture Wars in Translation" at Cornell's Society for Criticism and Theory. Wiseman’s Realm of Transgression: Titicut Follies, the Symbolic Father and the Spectacle of Confinement,” Cinema Journal Vol.Ou seja, tudo é exposto de modo muito honesto e imparcial (quase sempre, acho ele severo nas críticas ao autorismo) para você tirar suas próprias conclusões. One feature, which came to characterize all of the Stam-Shohat collaborations was looking at theses issues within a longue timespan by placing the various "1492s" (i. Representation, Meaning, and Experience in the Cinema: A Critical Study of Contemporary Film Theory.