Interpreting The Moving Image
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Interpreting the Moving Image
Author: Noel Carroll
language: en
Publisher: Cambridge University Press
Release Date: 1998-05-28
A collection of film essays by the well-respected critic, Noël Carroll.
The Attractions of the Moving Image
Author: Tom Gunning
language: en
Publisher: University of Chicago Press
Release Date: 2025-04-30
An essential collection of new and selected essays by influential cinema and media studies scholar Tom Gunning. Tom Gunning is the author of multiple books and nearly two hundred essays that have defined the field of cinema and media studies. His works have transformed our understanding of early cinema and the American avant-garde and reset the terms of many central debates in film and media history and theory. His 1986 essay “The Cinema of Attractions” is among the most cited essays on film ever published. Gunning’s writings articulate a distinctive and powerful model for thinking about cinema’s history and likely future, addressing the full range of moving-image media, from film to still photography to digital media. His discussions draw on stage melodrama and magic lantern shows, as well as criminology, world’s fairs, and Spiritualism, surveying the medium as a cultural phenomenon informed by the industrial and information ages, psychiatry, urban experience, discourses on art and aesthetics, and more. This collection brings together twenty-six essays that showcase the depth and range of Gunning’s scholarship, including four that have never before been published. Together, they solidify Gunning’s place as a scholar who has transformed the way generations of scholars, archivists, critics, and artists think about cinema.
Noël Carroll and Film
Author: Mario Slugan
language: en
Publisher: Bloomsbury Publishing
Release Date: 2019-01-30
Noël Carroll is one of the most prolific, widely-cited and distinguished philosophers of art, but how, specifically, has cinema impacted his thought? This book, one of the first in the acclaimed 'Film Thinks' series, argues that Carroll's background in both cinema and philosophy has been crucial to his overall theory of aesthetics. Often a controversial figure within film studies, as someone who has assertively contested the psychoanalytic, semiotic and Marxist cornerstones of the field, his allegiance to alternative philosophical traditions has similarly polarised his readership. Mario Slugan proposes that Carroll's defence of the notions of truth and objectivity provides a welcome antidote to 'anything goes' attitudes and postmodern scepticism towards art and popular culture, including film. Carroll's thinking has loosened the grip of continental philosophers on cinema studies - from Maurice Merleau-Ponty to Gilles Deleuze and Jacques Lacan - by turning to cognitive and analytical approaches. Slugan goes further to reveal that Carroll's methods of evaluation and interpretation in fact, usefully bridge gaps between these `opposing' sides, to look at artworks anew. Throughout, Slugan revisits and enriches Carroll's definitions of popular art, mass art, horror, humour and other topics and concludes by tracing their origins to this important thinker's relationship with the medium of cinema.