Using seven distinctive configurations of spectator and screen that move progressively from exterior to interior relationships, the authors retrace the most important stages of film theory from its beginnings to the presentfrom neo-realist and modernist theories to psychoanalytic, apparatus, phenomenological and cognitivist theories, and including recent cross-overs with philosophy and neurology. Every kind of cinema (and every film theory) first imagines an ideal spectator, and then maps certain dynamic interactions between the screen and the spectators mind, body and senses. What is the relationship between cinema and spectator? This is the key question for film theory, and one that Thomas Elsaesser and Malte Hagener put at the center of their insightful and engaging book, now revised from its popular first edition. Illustrated throughout, Jacobs' study of the presence of art in film, alongside the omnipresence of the filmic image in today's art museums, is an engaging work for students and scholars of film and art alike. This tension also marks the aesthetics of the film still, which have inspired prominent art photographers such as Cindy Sherman and Jeff Wall. The tension between stasis and movement is also discussed in relation to modernist cinema, which often includes tableaux vivants combining pictorial, sculptural and theatrical elements. Through the feature films and documentaries of directors including Emmer, Erice, Godard, Hitchcock, Pasolini, Resnais, Rossellini and Storck, Jacobs examines the way films 'animate' artworks by means of cinematic techniques, such as camera movements and editing, or by integrating them into a narrative.He explores how this 'mobilization' of the artwork is brought into play in art documentaries and artist biopics, as well as in feature films containing key scenes situated in museums.
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