The Major Film Theories: An Introduction (Galaxy Books)

by Dudley Andrew

Book Overview

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,... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0195019911
• Release Date: April 1976
• Publisher: Oxford University Press
• Length: 288 Pages
• Weight: 0.80 lbs.
• Dimensions: 0.6" x 5.3" x 7.9"

Customer Reviews

Nice Intro but incomplete

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.

Close to perfection! An absolute must read.

For people interested in the theory and psychology of cinema, this is a great starting point and is a must have in any collection. J. Dudley Andrew breaks down the theories of Mitry, Metz, Arheim, and Bazin, among others, into easy to understand chapters without losing the essense of the theories. This book and the material are both so interesting that this will have you hooked on film theory. Instead of purchasing the individual books by each theorist, Andrew's book is the way to go in more ways than one. It is very easy to understand, which some books on film theory aren't, and he uses great quotes from each of the theorists. Andrew followed this up with "Concepts in Film Theory" which is the opposite of this book. It is much more difficult to understand and follow so beware.

simple is as simple reads

A great book, does exactly what it says on the cover, admittedly thirty years or so old, it still grapples sipmly with the theorie's you'd want to be introduced to if you've no idea what you're doing by looking at different theorists' views and counterviews. This book won't tell you what to think, it'll give you a set of arguments and let you decide where you go with it . . . in my humble opinion . . .

Film philosophies

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.

exceptional introduction!

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.