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Film theory no longer gets top billing or plays a starring role in film studies today, as critics proclaim that theory is dead and we are living in a post-theory moment. While theory may be out of the limelight, it remains an essential key to understanding the full complexity of cinema, one that should not be so easily discounted or discarded. In this volume, contributors explore recent popular movies through the lens of film theory, beginning with industrial-economic analysis before moving into a predominately aesthetic and interpretive framework. The Hollywood films discussed cover

Film --- Los Angeles --- Motion pictures --- Cinéma --- Philosophy. --- Philosophie --- Cinéma --- Los Angeles [California] --- Motion pictures. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism

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Film --- Semiotics --- Motion pictures --- Cinéma --- Semiotics. --- Philosophy. --- Sémiotique --- Philosophie --- Philosophy --- 791.43 --- 82:791.43 --- 82:3 --- -Motion pictures --- -Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Filmkunst. Films. Cinema --- Literatuur en film --- Literatuur en maatschappijwetenschappen --- History and criticism --- -Filmkunst. Films. Cinema --- 82:3 Literatuur en maatschappijwetenschappen --- 82:791.43 Literatuur en film --- 791.43 Filmkunst. Films. Cinema --- -82:3 Literatuur en maatschappijwetenschappen --- Cinema --- Cinéma --- Sémiotique --- Motion pictures - Semiotics --- Motion pictures - Philosophy

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Puzzle Films examines the influence of a new storytelling epoch on contemporary world cinema. Identifying and analyzing films that reject classical storytelling techniques and instead embrace nonlinearity, time loops, and fragmented spatio-temporal reality as their narrative form, these films blur the boundaries between different levels of reality, are riddled with gaps, deception, labyrinthine structures, unreliable narrators, and overt coincidences. Drawing upon the expertise of film scholars from around the world, this edited collectioninvestigates a number of films that sport complex storytelling--from Memento, Old Boy, and Run Lola Run, to the Infernal Affairs trilogy and In the Mood for Love. At a time when many a film is asking more--not less--of fans and cineastes, Puzzle Films will help viewers keep pace with a form of narration that captures the anxiety and ambiguity of our time.

film --- filmtheorie --- narratologie --- eenentwintigste eeuw --- 791.41 --- Motion pictures --- Space and time in motion pictures. --- Narration (Rhetoric) --- Philosophy. --- Narration (Rhetoric). --- Space and time in motion pictures --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- Philosophy --- Motion pictures - Philosophy

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In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. Examining and developing the work of 'cognitive film semiotics', a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics, he investigates Michel Colin's cognitive semantic theory of film; Francesco Casetti and Christian Metz's theories of film enunciation; Roger Odin's cognitive-pragmatic film theory; and Michel Colin and Dominique Chateau's cognitive studies of film syntax, which are viewed within the framework of Noam Chomsky's transformational generative grammar. Presenting a survey of cognitive film semiotics, this study also re-evaluates the film semiotics of the 1960s, highlights the weaknesses of American cognitive film theory, and challenges the move toward 'post-theory' in film studies.

82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- Motion pictures --- Semiotics --- Semiotics. --- Motion pictures - Semiotics

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Wes Anderson's Symbolic Storyworld presents a theoretical investigation of whatmakes the films of Wes Anderson distinctive. Chapter by chapter, it relentlessly pulls apart each of Anderson's narratives to pursue the proposition that they all share the same deep underlying symbolic values – a common symbolic storyworld. Taking the polemical strategy of outlining and employing Claude Lévi-Strauss's distinguished (and notorious) work on myth and kinship to analyze eight of Anderson's films, Warren Buckland unearths the peculiar symbolic structure of each film, plus the circuits of exchange, tangible and intangible gift giving, and unusual kinship systems that govern the lives of Anderson's characters. He also provides an analysis of Wes Anderson's visual and aural style, identifying several distinctive traits of Anderson's mise en scène

Symbolism in motion pictures. --- Motion picture producers and directors --- Motion pictures --- Aesthetics. --- Anderson, Wes, --- Criticism and interpretation.