{"product_id":"thinking-in-the-dark-cinema-theory-practice-paperback-softback-9780813566283","title":"Thinking in the Dark; Cinema, Theory, Practice (Paperback \/ softback) 9780813566283","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eThinking in the Dark\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eCinema, Theory, Practice\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eMurray Pomerance (Edited by), R. Barton Palmer (Edited by), R. Barton Palmer (Contributions by), Murray Pomerance (Contributions by), Jeremy Blatter (Contributions by), Tom Gunning (Contributions by), Steven Woodward (Contributions by), Johannes von Moltke (Contributions by), Colin Williamson (Contributions by), Sarah Keller (Contributions by), Matthew Solomon (Contributions by), Dominic Lennard (Contributions by), Nathan Holmes (Contributions by), William Brown (Contributions by), William Rothman (Contributions by), Dudley Andrew (Contributions by), Will Scheibel (Contributions by), Daniel Morgan (Contributions by), Tom Conley (Contributions by), Steven Rybin (Contributions by), Alex Clayton (Contributions by), Gilberto Perez (Contributions by), Jonah Corne (Contributions by), Kristen Hatch (Contributions by)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9780813566283\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 16 October 2015\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e288 pages, 42 photographs\u003cbr\u003e22.9 x 15.2 x 1.8 cm, 0.481 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e\"Offering twenty-one case studies devoted to individual theorists ranging from Walter Benjamin to Michel Chion, \u003ci\u003eThinking in the Dark\u003c\/i\u003e is at once expansive in its scope while focused and specific in its application of each theorist’s works … Overall \u003ci\u003eThinking in the Dark\u003c\/i\u003e offers a very strong collection of essays from top scholars in the field of film studies, and it should find its way to those seeking a reinvigorated reading of key film theorists. \"\u003c\/div\u003e (South Atlantic Review) \u003cdiv\u003e\"In the continuously growing flow of anthologies, readers, textbooks, and handbooks on film theory, the collection edited by Pommerance and Palmer is one of the most original and refreshing ones that I have read in many years …\u003ci\u003e Thinking in the Dark\u003c\/i\u003e is a sound and solid contribution to film studies.\"\u003c\/div\u003e (Leonardo Reviews) \u003cdiv\u003e“In lucid and insightful essays, prominent film scholars discuss a major film or cultural theorist and apply the theory to cinematic texts. Refreshingly, the choice of films considered veers away from the most obvious to those that are excitingly offbeat.”\u003c\/div\u003e - Lucy Fischer (Distinguished Professor, University of Pittsburgh)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003eToday’s film scholars draw from a dizzying range of theoretical perspectives-they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist AndrÉ Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming.\u003cbr\u003e  \u003cbr\u003e\u003ci\u003eThinking in the Dark \u003c\/i\u003eintroduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from \u003ci\u003eHugo \u003c\/i\u003eto\u003ci\u003e Vertigo\u003c\/i\u003e, from \u003ci\u003eCity Lights \u003c\/i\u003eto \u003ci\u003eSunset Blvd.\u003c\/i\u003e, and from \u003ci\u003eYoung Mr. Lincoln\u003c\/i\u003e to \u003ci\u003eA.I. \u003c\/i\u003eand \u003ci\u003eWall-E\u003c\/i\u003e.\u003cbr\u003e  \u003cbr\u003e The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. \u003ci\u003eThinking in the Dark \u003c\/i\u003eis not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes. \u003cbr\u003e  \u003cbr\u003e Theorists examined in this volume are: Rudolf Arnheim, BÉla BalÁzs, Roland Barthes, AndrÉ Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo MÜnsterberg, V. F. Perkins, Jacques RanciÈre, and Jean Rouch.\u003cbr\u003e\n\u003c\/div\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e\n\u003cp\u003eAcknowledgments\u003c\/p\u003e\n\u003cp\u003eIntroduction\u003c\/p\u003e\n\u003cp\u003eR. Barton Palmer and Murray Pomerance\u003c\/p\u003e\n\u003cp\u003eChapter 1: Hugo MÜnsterberg: Psychologizing Spectatorship between Laboratory and Theater\u003c\/p\u003e\n\u003cp\u003eJeremy Blatter\u003c\/p\u003e\n\u003cp\u003eChapter 2: Vachel Lindsay: Theory of Movie Hieroglyphics\u003c\/p\u003e\n\u003cp\u003eTom Gunning\u003c\/p\u003e\n\u003cp\u003eChapter 3: BÉla BalÁzs: Film Aesthetics and the Rituals of Romance\u003c\/p\u003e\n\u003cp\u003eSteven Woodward\u003c\/p\u003e\n\u003cp\u003eChapter 4: Siegfried Kracauer: The Politics of Film Theory and Criticism\u003c\/p\u003e\n\u003cp\u003eJohannes von Moltke\u003c\/p\u003e\n\u003cp\u003eChapter 5: Walter Benjamin: Afterimages of the Aura\u003c\/p\u003e\n\u003cp\u003eColin Williamson\u003c\/p\u003e\n\u003cp\u003eChapter 6: Jean Epstein: Cinema’s Encounter with Modern Life\u003c\/p\u003e\n\u003cp\u003eSarah Keller\u003c\/p\u003e\n\u003cp\u003eChapter 7: Sergei Eisenstein: Attractions\/Montage\/Animation\u003c\/p\u003e\n\u003cp\u003eMatthew Solomon\u003c\/p\u003e\n\u003cp\u003eChapter 8: Jacques Lacan: Giving All the Right Signs\u003c\/p\u003e\n\u003cp\u003eDominic Lennard\u003c\/p\u003e\n\u003cp\u003eChapter 9: Rudolf Arnheim: Cinema and Partial Illusion\u003c\/p\u003e\n\u003cp\u003eNathan Holmes\u003c\/p\u003e\n\u003cp\u003eChapter 10: Roland Barthes: What Films Show Us and What They Mean\u003c\/p\u003e\n\u003cp\u003eWilliam Brown\u003c\/p\u003e\n\u003cp\u003eChapter 11: Jean Rouch: The Camera as Provocateur\u003c\/p\u003e\n\u003cp\u003eWilliam Rothman\u003c\/p\u003e\n\u003cp\u003eChapter 12: AndrÉ Bazin: Dark Passage into the Mystery of Being\u003c\/p\u003e\n\u003cp\u003eDudley Andrew\u003c\/p\u003e\n\u003cp\u003eChapter 13: Gilles Deleuze: On Movement, Time, and Modernism\u003c\/p\u003e\n\u003cp\u003eWill Scheibel\u003c\/p\u003e\n\u003cp\u003eChapter 14: Stanley Cavell: The Contingencies of Film and Its Theory\u003c\/p\u003e\n\u003cp\u003eDaniel Morgan\u003c\/p\u003e\n\u003cp\u003eChapter 15: Michel Foucault: Murmur and Meditation\u003c\/p\u003e\n\u003cp\u003eTom Conley\u003c\/p\u003e\n\u003cp\u003eChapter 16: Jean Douchet: La Politique Hitchcock\u003c\/p\u003e\n\u003cp\u003eR. Barton Palmer\u003c\/p\u003e\n\u003cp\u003eChapter 17: Christian Metz: Dreaming a Language in Cinema\u003c\/p\u003e\n\u003cp\u003eSteven Rybin\u003c\/p\u003e\n\u003cp\u003eChapter 18: V. F. Perkins: Aesthetic Suspense\u003c\/p\u003e\n\u003cp\u003eAlex Clayton\u003c\/p\u003e\n\u003cp\u003eChapter 19: Jacques RanciÈre: Equality and Aesthetics\u003c\/p\u003e\n\u003cp\u003eGilberto Perez\u003c\/p\u003e\n\u003cp\u003eChapter 20: Michel Chion: Listening to Cinema\u003c\/p\u003e\n\u003cp\u003eJonah Corne\u003c\/p\u003e\n\u003cp\u003eChapter 21: Judith Butler: Sex, Gender, and Subject Formation\u003c\/p\u003e\n\u003cp\u003eKristen Hatch\u003c\/p\u003e\n\u003cp\u003eWorks Cited\u003c\/p\u003e\n\u003cp\u003eNotes on Contributors\u003c\/p\u003e\n\u003cp\u003eIndex\u003c\/p\u003e\n\u003c\/div\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"Rutgers University Press","offers":[{"title":"Brand New","offer_id":52559344107800,"sku":"9780813566283","price":26.19,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/thinking-in-the-dark-cinema-theory-practice-paperback-softback-9780813566283","provider":"Freshly Printed Books","version":"1.0","type":"link"}