Cinema and Spectatorship

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1970s
1970s Film Theory
A01=Judith Mayne
apparatus
Apparatus Theory
Author_Judith Mayne
Black Spectatorship
Category=ATFA
Category=JBCT
Category=NH
cinematic
Cinematic Apparatus
Cinematic Institution
Cinematic Subject
classical
Classical Cinema
Classical Hollywood Cinema
Contemporary Film Studies
Critical Spectatorship
Dorian Gray
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Female Rivalry
Female Spectator
film
film audience analysis
Film Studies
gendered viewing practices
hollywood
institution
Lesbian Audiences
Lesbian Spectatorship
Moving Picture
narrative reception studies
psychoanalytic audience engagement
Psychoanalytic Film Theory
queer film spectators
Radway's Analysis
Radway’s Analysis
Raymond Bellour
recent
Recent Film Theory
Smithton Women
star persona construction
studies
theory
Vice Versa
visual culture theory
White Spectatorship
Young Man

Product details

  • ISBN 9781138136441
  • Weight: 430g
  • Dimensions: 156 x 234mm
  • Publication Date: 01 Feb 2016
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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Cinema and Spectatorship is the first book to focus entirely on the history and role of the spectator in contemporary film studies. While 1970s film theory insisted on a distinction betweeen the cinematic subject and film-goers, Judith Mayne suggests that a very real friction between "subjects" and "viewers" is in fact central to the study of spectatorship.
In the book's first section Mayne examines three theoretical models of spectatorship: the perceptual, the institutional and the historical, while the second section focuses on case studies which crystallize many of the issues already discussed, concentrating on textual analysis, the `disrupting genre', `star-gazing' and finally the audience itself. Case studies incude the place of the spectator in the textual analysis of individual films such as The Picture of Dorian Gray; the construction of Bette Davis' star persona; fantasies of race and film viewing in Field of Dreams and Ghost; and gay and lesbian audiences as "critical" audiences. The book provides a very thorough and accessible overview of this complex, fragmented and often controversial area of film theory.

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