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Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

Film --- Theory of knowledge --- Motion pictures --- Philosophy --- Godard, Jean-Luc, --- Resnais, Alain, --- Criticism and interpretation. --- Godard, Jean-Luc --- Philosophy.

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The Anthem Handbook of Screen Theory' offers a unique and progressive survey of screen theory and how it can be applied to a range of moving-image texts and sociocultural contexts. Focusing on the "handbook" angle, the book includes only original essays from two primary sources: established authors in the field and new scholars on the cutting edge of helping screen theory evolve for the twenty-first-century vistas of new media, social shifts and geopolitical change. The main purpose of this method is to guarantee a strong foundation and clarity for the canon of film theory, while also situating it as part of a larger genealogy of art theories and critical thought, and to reveal the relevance and utility of film theories and concepts to a wide array of expressive practices and specified arguments.

Motion pictures --- History. --- History and criticism --- Philosophy. --- Philosophie et cinéma. --- Philosophy --- Philosophie et cinéma.

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This volume brings together a range of voices from across the global environmental media community to build a comparative international set of perspectives on ‘green’ film and television production. Through this, it provides a necessary intervention in environmental media studies that actively foregrounds media infrastructure, production, policy, and labour – that is, the management and practice of media production cultures. Due to its immense sociocultural influence and economic resources, the global screen media industry is at the forefront of raising awareness for the political and social issues resulting from accelerated environmental instability. However, the 21st century relationship between screen media and the environment has another face that demands urgent scrutiny. The advent of the digital age and the vast electrical and Information and Communication Technologies (ICT) infrastructures required to support digital production, distribution, and archiving has resulted in the rapid expansion and diversification of the industry’s resource use, infrastructure construction, energy dependency, and consequent waste and emissions production. Addressing these structures is essential to alleviating their environmental and social impact and ensuring that the industry’s rhetoric on environmental responsibility is reflected in its practice. As a mitigating counterbalance to the above trends, there has been a heightenedpush for sustainability measures along various lines of industry management, policy, and practice. These initiatives—including the cultural values they reflect, the political economies that form their logic, the managerial and marketing tactics that orchestrate them, and the environmental realities of their implementation—form the central object of inquiry for this collection.

Motion picture industry --- Motion pictures --- Television --- Environmental aspects. --- Production and direction --- Radio vision --- TV --- Artificial satellites in telecommunication --- Electronic systems --- Optoelectronic devices --- Telecommunication --- Astronautics --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Optical communication systems --- History and criticism --- Communication in the environmental sciences. --- Digital media. --- Communication and traffic. --- Environmental Communication. --- Film and Television Production. --- Digital and New Media. --- Media Industries. --- Production and direction. --- Communications industries --- Mass communication --- Traffic --- Communication --- Transportation --- Electronic media --- New media (Digital media) --- Digital communications --- Online journalism --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Communication in environmental sciences --- Environmental sciences --- Direction

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This volume brings together a range of voices from across the global environmental media community to build a comparative international set of perspectives on 'green' film and television production. Through this, it provides a necessary intervention in environmental media studies that actively foregrounds media infrastructure, production, policy, and labour - that is, the management and practice of media production cultures. Due to its immense sociocultural influence and economic resources, the global screen media industry is at the forefront of raising awareness for the political and social issues resulting from accelerated environmental instability. However, the 21st century relationship between screen media and the environment has another face that demands urgent scrutiny. The advent of the digital age and the vast electrical and Information and Communication Technologies (ICT) infrastructures required to support digital production, distribution, and archiving has resulted in the rapid expansion and diversification of the industry's resource use, infrastructure construction, energy dependency, and consequent waste and emissions production. Addressing these structures is essential to alleviating their environmental and social impact and ensuring that the industry's rhetoric on environmental responsibility is reflected in its practice. As a mitigating counterbalance to the above trends, there has been a heightenedpush for sustainability measures along various lines of industry management, policy, and practice. These initiatives--including the cultural values they reflect, the political economies that form their logic, the managerial and marketing tactics that orchestrate them, and the environmental realities of their implementation--form the central object of inquiry for this collection.--

Communication in the environmental sciences. --- Digital media. --- Motion pictures --- Production and direction. --- Direction of motion pictures --- Film-making (Motion pictures) --- Filmmaking (Motion pictures) --- Motion picture direction --- Motion picture plays --- Motion picture production --- Movie-making --- Moviemaking --- Production of motion pictures --- Electronic media --- New media (Digital media) --- Mass media --- Digital communications --- Online journalism --- Communication in environmental sciences --- Environmental sciences --- Production and direction --- Direction --- Motion picture industry --- Television --- Environmental aspects. --- Radio vision --- TV --- Artificial satellites in telecommunication --- Electronic systems --- Optoelectronic devices --- Telecommunication --- Astronautics --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Performing arts --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Optical communication systems --- History and criticism