Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to "naturalize" style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration.

The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first. When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. The Routledge Encyclopedia of Film Theory challenges these first impressions by aiming to make film theory accessible and open to new readers. Edward Branigan and Warren Buckland have commissioned over 50 scholars from around the globe to address the difficult formulations and propositions in each theory by reducing these difficult formulations to straightforward propositions. The result is a highly accessible volume that clearly defines, and analyzes step by step, many of the fundamental concepts in film theory, ranging from familiar concepts such as 'Apparatus', 'Gaze', 'Genre', and 'Identification', to less well-known and understood, but equally important concepts, such as Alain Badiou's 'Inaesthetics', Gilles Deleuze's 'Time-Image', and Jean-Luc Nancy's 'Evidence'. The Routledge Encyclopedia of Film Theory is an ideal reference book for undergraduates of film studies, as well as graduate students new to the discipline.

In "Projecting a Camera," film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in film.
With its thorough grounding in the philosophy of spectatorship and narrative, "Projecting a Camera "takes the study of film to a new level. With the care and precision that he brought to "Narrative Comprehension and Film," Edward Branigan maps the ways in which we must understand the role of the camera, the meaning of the frame, the role of the spectator, and other key components of film-viewing. By analyzing how we think, discuss, and marvel about the films we see, "Projecting a Camera," offers insights rich in implications for our understanding of film and film studies.

From Chaplina (TM)s tramp to the Bathing Beauties, from madcap chases to skyscraper perils, slapstick comedy supplied many of the most enduring icons of American cinema in the silent era. This collection of fourteen essays by prominent film scholars challenges longstanding critical dogma and offers new conceptual frameworks for thinking about silent comedya (TM)s place in film history and American culture. The contributors discuss a broad range of topics including the contested theatrical or cinematic origins of slapstick; the comic spectacle of crazy technology and trick stunts; the filmmakers who shaped the style of early slapstick; and comedya (TM)s implications for theories of film form and spectatorship.

This volume is essential reading for anyone seeking to understand the origins and continued importance of a film genre at the heart of American cinema from its earliest days to today.

From Chaplina (TM)s tramp to the Bathing Beauties, from madcap chases to skyscraper perils, slapstick comedy supplied many of the most enduring icons of American cinema in the silent era. This collection of fourteen essays by prominent film scholars challenges longstanding critical dogma and offers new conceptual frameworks for thinking about silent comedya (TM)s place in film history and American culture. The contributors discuss a broad range of topics including the contested theatrical or cinematic origins of slapstick; the comic spectacle of crazy technology and trick stunts; the filmmakers who shaped the style of early slapstick; and comedya (TM)s implications for theories of film form and spectatorship.

This volume is essential reading for anyone seeking to understand the origins and continued importance of a film genre at the heart of American cinema from its earliest days to today.

In "Projecting a Camera," film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in film.
With its thorough grounding in the philosophy of spectatorship and narrative, "Projecting a Camera "takes the study of film to a new level. With the care and precision that he brought to "Narrative Comprehension and Film," Edward Branigan maps the ways in which we must understand the role of the camera, the meaning of the frame, the role of the spectator, and other key components of film-viewing. By analyzing how we think, discuss, and marvel about the films we see, "Projecting a Camera," offers insights rich in implications for our understanding of film and film studies.

How does cinematic fiction render the ordinary world intelligible?
Narrative is one of the ways we organize and understand the world. It is found everywhere: not only in films and books, but also in everyday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, and others.
In "Narrative Comprehension and Film," Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film--and literary--analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analysis of classical narratives form the basis of a complex study of every aspect of filmic fiction, exploring, for example, subjectivity in "Lady in the Lake," multiplicity in "Letter from an Unknown Woman," postmodernism and documentary in "Sans Soleil,"
Through his exploration of film, Branigan expresses how the study of narrative should be viewed as a distinctive strategy for recognizing, isolating, and articulating the fundamental role which narrative plays in our response to the world as a whole.

Narrative is one of the ways we organise and understnad the world. It is found everywhere: not only in films and books, but also in everday conversations and in the nonfictional discourses of journalists, historians, educators, psychologists, attorneys and many others.
Edward Branigan presents a telling exploration of the basic concepts of narrative theory and its relation to film - and literary - analysis, bringing together theories from linguistics and cognitive science, and applying them to the screen. Individual analyses of classical narratives form the basis of a complex study of every aspect of filmic fiction exploring, for example, subjectivity in Lady in the Lake, multiplicity in Letter from and Unknown Woman, post-modernism and documentary in Sans Soleil.

The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first.

When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. "The Routledge Encyclopedia of Film Theory" challenges these first impressions by aiming to make film theory accessible and open to new readers.

Edward Branigan and Warren Buckland have commissioned over 50 scholars from around the globe to address the difficult formulations and propositions in each theory by reducing these difficult formulations to straightforward propositions.

The result is a highly accessible volume that clearly defines, and analyzes step by step, many of the fundamental concepts in film theory, ranging from familiar concepts such as Apparatus, Gaze, Genre, and Identification, to less well-known and understood, but equally important concepts, such as Alain Badiou s Inaesthetics, Gilles Deleuze s Time-Image, and Jean-Luc Nancy s Evidence .

"

The Routledge Encyclopedia of Film Theory "is an ideal reference book for undergraduates of film studies, as well as graduate students new to the discipline.

Color is one of cinema's most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings. But what if color is not-or not only-a formal system, but instead a linguistic effect, emerging from the slipstream of our talk and embodiment in a world? This book develops a compelling framework from which to understand the mobility of color in art and mind, where color impressions are seen through, and even governed by, patterns of ordinary language use, schemata, memories, and narrative. Edward Branigan draws on the work of Ludwig Wittgenstein and other philosophers who struggle valiantly with problems of color aesthetics, contemporary theories of film and narrative, and art-historical models of analysis. Examples of a variety of media, from American pop art to contemporary European cinema, illustrate a theory based on a spectator's present-time tracking of temporal patterns that are firmly entwined with language use and social intelligence.

Color is one of cinema's most alluring formal systems, building on a range of artistic traditions that orchestrate visual cues to tell stories, stage ideas, and elicit feelings. But what if color is not-or not only-a formal system, but instead a linguistic effect, emerging from the slipstream of our talk and embodiment in a world? This book develops a compelling framework from which to understand the mobility of color in art and mind, where color impressions are seen through, and even governed by, patterns of ordinary language use, schemata, memories, and narrative. Edward Branigan draws on the work of Ludwig Wittgenstein and other philosophers who struggle valiantly with problems of color aesthetics, contemporary theories of film and narrative, and art-historical models of analysis. Examples of a variety of media, from American pop art to contemporary European cinema, illustrate a theory based on a spectator's present-time tracking of temporal patterns that are firmly entwined with language use and social intelligence.