The Oxford Guide to Film Studies

The Oxford Guide to Film Studies

3.92 (86 ratings by Goodreads)
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Comprehensive, authoritative, and unique, The Oxford Guide to Film Studies is the up-to-date critical volume on the theories, debates, and approaches to the study of film. A host of international experts provide an overview of the main disciplinary approaches to film studies, an explanation of the main concepts and methods involved in film analysis, a survey of the main issues and debates in the study of film, and critical discussion of key areas.

The Guide features:

* Comprehensive coverage suitable for any course on cinema or film studies

* Organized into three sections: Approaches; Hollywood and the World; World Cinema

* An emphasis throughout on critical concepts, methods, and debates

* Specially commissioned chapters on such varied topics as film music, the Hollywood Star System, and the idea of national cinema

* Coverage dedicated to important new areas in film studies: gay and lesbian criticism, postcolonial theory, audience studies, post-classical Hollywood cinema, and cultural studies

* Chapters discussing exciting new developments in classical topics, such as Early Hollywood Cinema, Film History, and the avant-garde

* Illustrated throughout, and complete with `readings' designed to demonstrate the variety of theoretical approaches, chapter headings and summaries, guides to further reading, and `highlight' quotes

With its uniquely comprehensive coverage, The Oxford Guide to Film Studies is an indispensable aide and reference source for the student of film and media, and anyone interested in the study of cinema.
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Product details

  • Paperback | 648 pages
  • 187 x 245 x 38mm | 1,248g
  • Oxford, United Kingdom
  • English
  • halftones
  • 0198711247
  • 9780198711247
  • 220,559

Table of contents

General Introduction ; PART ONE: CRITICAL APPROACHES ; 1. Introduction to Film Studies ; STUDYING THE FILM TEXT ; 2. The Film Text and Film Form ; 3. Film Acting ; 4. Film Costume ; 5. Film Music ; THE FILM TEXT: THEORETICAL DEVELOPMENTS ; 6. Classic Film Theory and Semiotics ; 7. Formalism and Neo-formalism ; 8. Impressionism, Surrealism, and Film Theory ; 9. Film and Psychoanalysis ; 10. Post-Structuralism and Deconstruction ; 11. Film and Postmodernism ; FILM TEXT AND CONTEXT: GENDER, IDEOLOGY, AND IDENTITIES ; 12. Marxism and Film ; 13. Feminism and Film ; 14. Gay and Lesbian Criticism ; 15. Queer Theory ; 16. Pornography ; 17. Race, Ethnicity, and Film ; 18. Film and Cultural Identity ; FILM TEXT AND CONTEXT: CULTURE, HISTORY, AND RECEPTION ; 19. Film and History ; 20. Sociology and Film ; 21. Cultural Studies and Film ; 22. Film Audiences ; 23. Hermeneutics, Reception Aesthetics, and Film Interpretation ; PART TWO: AMERICAN CINEMA AND HOLLYWOOD: CRITICAL APPROACHES. ; AMERICAN CINEMA: HISTORY, INDUSTRY, AND INTERPRETATION ; 1. American Cinema and Film History ; 2. History and Cinema Technology ; 3. Hollywood as Industry ; 4. Early American Film ; 5. Classical Hollywood Film and Melodrama ; 6. Post-classical Hollywood ; CRITICAL CONCEPTS ; 7. Authorship and Hollywood ; 8. Genre and Hollywood ; 9. The Star System and Hollywood ; POLITICS AND SOCIETY ; 10. Hollywood Film and Society ; 11. Film Policy: Hollywood and Beyond ; 12. Hollywood and the World ; PART THREE: WORLD CINEMA: CRITICAL APPROACHES ; REDEFINING CINEMA: INTERNATIONAL AND AVANT-GARDE ALTERNATIVES ; 1. Concepts of National Cinema ; 2. Modernism and the Avante-Gardes ; 3. Realism, Modernism, and Post-Colonial ; REDEFINING CINEMA: OTHER GENRES ; 4. The Documentary Film ; 5. The Animated Film ; EUROPEAN CINEMA ; 6. Iss ues in European Cinema ; CASE-STUDIES: MOVEMENTS, MOMENTS, AND FILMMAKERS ; 7. The Avant-Gardes and European Cinema before 1930 ; 8. Italian Post-War Cinema and Neo-Realism ; 9. The French Nouvelle Vague ; 10. New German Cinema ; 11. East-Central European Cinema ; 12. European Film Policy and the Response to Hollywood ; 13. Directors and Stars ; (a) Jean Renoir ; (b) Ingmar Bergman ; (c) Chantal Akerman ; (d) Pedro Almodovar ; (e) Luc Besson ; ANGLOPHONE NATIONAL CINEMAS ; CASE-STUDIES ; 14. British Cinema ; 15. Ireland and Cinema ; 16. Australian Cinema ; 17. Canadian Cinema ; WORLD CINEMA ; 18. Issues in World Cinema ; CASE-STUDIES: CINEMAS OF THE WORLD ; 19. Indian Cinema ; 20. Chinese Cinema ; 21(a) Hong Kong Cinema: Discovery and Pre-Discovery ; 21(b) China, and 1997 ; 22. Taiwanese New Cinema ; 23. Japanese Cinema ; 25. South American Cinema ; FILM IN A CHANGING AGE ; 26. Film and Changing Technologies ; 27. Film and Television
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Review quote

substantial book that, particularly in its coverage of major theoretical issues, provides a sound introduction for undergraduate film-studies students and, perhaps even more usefully, for students on courses of which film is only a part. * Steve Blandford, The Times Higher Education Supplement * "Featuring entries from most of the reigning luminaries in the field, this solid, exhaustive volume is possibly the best all-in-one guide currently available. The contributors supply skilful overviews of the major critical approaches, and there are a few surpises -- for instance, pornography is firmly ensconced as a respectable academic subject." * Sight and Sound, May 1998 * "In its coverage of major theoretical issues, provides a sound introduction for undergraduate film-studies students and perhaps even more usefully, for students on courses on which film is only a part." * The Times Higher Education Supplement, May 1999 * "Prominence is given to the politics of gender and sexuality, an accurate reflection of the balance of debates within the discipline over the past two decades at least." * The Times Higher Education Supplement, May 1999 * "One of the first things that strikes you about The Oxford Guide to Film Studies is the number of contributors, nearly 70 in all representing a fair cross-section of leading scholarship mainly (though not exclusively) from the United Kingdom and the United States. This is a great strength." * The Times Higher Education Supplement, May 1999 *
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About Richard Dyer

John Hill is Senior Lecturer at the Department of Media and Performance Studies at the University of Ulster at Coleraine

Pamela Church Gibson is a Senior Lecturer in Contextual and Cultural Studies at the London College of Fashion, a constituent college of the London Institute

Richard Dyer is Professor of Film Studies at the University of Warwick

E. Ann Kaplan teaches in the Department of English at the Humanities Institute at Stony Brook, New York

Paul Willemen is Professor, Department of Media Studies, Napier University, Edinburgh
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Rating details

86 ratings
3.92 out of 5 stars
5 33% (28)
4 33% (28)
3 30% (26)
2 3% (3)
1 1% (1)
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