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At times Stam's summaries of other people's critical stances and theories was helpful (especially when so often you have to read confusing translations of the originals) but usually I would have preferred just an anthology of theory and the original articles rather than Stam's interpretations and opinions. Ou seja, tudo é exposto de modo muito honesto e imparcial (quase sempre, acho ele severo nas críticas ao autorismo) para você tirar suas próprias conclusões. Robert Stam, renowned for his clarity of writing, will also include studies of cinema specialists providing readers with a depth of reference not generally available outside the field of film studies itself. Sissejuhatus juba rohkem kui sajandivanuse filmiteooria ajalukku ei saa ilmselgelt üks lihtne lugemine olla.
Stam has authored, co-authored and edited some seventeen books on film and cultural theory, literature and film, national cinema (French and Brazilian), aesthetic and politics, intellectual history, and comparative race studies and postcolonial studies. Contesting the monolingual and Anglo-Americano-centric approach to these issues, the book elaborates such concepts as “the seismic shift” provoked by the decolonization of culture, the radicalization of the academic disciplines, the philosophical centrality of indigenous thought, the “left/right” convergence on identity politics, and “inter-colonial narcissism. Representation, Meaning, and Experience in the Cinema: A Critical Study of Contemporary Film Theory.Mobilizing Fictions: The Gulf War, the Media and the Recruitment of the Spectator," Public Culture Vol. Another field of intervention for Stam has been in cultural theory, especially in Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (Johns Hopkins, 1989), the first book-length study to extrapolate for film and cultural studies Bakhtin's conceptual categories, such as “translinguistics” and “dialogism” and the “carnivalesque. Their Unthinking Eurocentrism: Multiculturalism and the Media (Routledge, 1994) formed part of and helped shape the surge of writing about race, colonialism, identity politics, and postcoloniality in the 1990s. Other material covered includes film adaptations of works of literature and analogies between literary and film criticism. Race in Translation: Culture Wars Around the Postcolonial Atlantic (NYU, 2012), finally, dealt with the postwar debates about colonialism, postcoloniality, race, multiculture and Affirmative Action in three cultural zones—the U.
Chronophotographe" stresses the writing of time (and light) and thus anticipates Deleuze's (Bergsonian) emphasis on the "time image," while "Kinetoscophe," again anticipating Deleuze, stresses the visual observation of movement. Most of our PDFs are also available to download and we're working on making the final remaining ones downloadable now. The discussion of Bakhtin was somewhat unfocused, however, and I was never sure exactly how his ideas were being applied. In 2006, he co-taught (with Ella Shohat) a seminar on "The Culture Wars in Translation" at Cornell's Society for Criticism and Theory.For a more comprehensive bibliography, see Toby Miller and Robert Stam (eds), Film and Theory (Oxford: Blackwell Publishers, 1999). Francois Truffaut and Friends: Modernism, Sexuality, and Adaptation (Rutgers, 2006), meanwhile, explored the “transtextual diaspora” generated by a highly literary ménage-a-trois in the 1920s that led to the books and published journals of Henri-Pierre Roche, Franz Hessel and Helen Hessel, as well as three films by Truffaut based on the life and work of Roche ( Jules and Jim, Two Englishwomen, and The Man Who Loved Women).
Their 1985 Screen essay “The Cinema After Babel: Language, Difference, Power,” introduced a Bakhtinian “translinguistic” and trans-structuralist turn into the study of language difference, translation, and postsynchronization in the cinema. Attempting to go beyond the methodological limitations of the then-dominant paradigm of “positive image” and “negative stereotype” analysis, Stam argued for an approach that emphasized not social accuracy or characterological merits but rather issues such as perspective, address, focalization, mediation, and the filmic orchestration of discourses.
The concern with issues of colonialism, postcolonialism, race, and cultural difference also found expression in a number of seminal texts co-authored with Ella Shohat. Unthinking Eurocentrism addressed such issues as “Eurocentrism versus Polycentrism,” “Formations of Colonialist Discourse,” “The Imperial Imaginary,” “Tropes of Empire,” the “Esthetics of Resistance,” “postcolonial hybridity,” and “indigenous media. The book combines two strands of work – an ambitious study of colonialist discourse and Eurocentrism – and a comprehensive and transnational study of cinematic texts related to those issues. This could surely help someone ease into a less general work on film theory, depending on the interests of the individual.
With work that has ranged across a number of different fields, Stam has participated in a number of post-structuralist and postcolonial “turns” within film and cultural studies. Para mim, o grande diferencial do livro é que a cada capítulo e teoria, o Stam primeiro apresenta sua principal ideia, faz você achar ela brilhante, para logo em seguida mostrar as críticas a ela, fazer você pensar que as críticas tem razão, e aí ao fim ele também se posiciona sobre o assunto. Two anthologies co-edited with Alessandra Raengo (both published by Blackwell) fleshed out the project: Literature and Film: A Guide to the Theory and Practice of Adaptation (Blackwell, 2005), and Companion to Literature and Film (Blackwell, 2004). að þetta sé ágætlega auðskyljanlegt að þá er þetta einn af helstu vöndum bókarinnar, og á þetta sér stað á nánast hverri einustu blaðsíðu.His many books include Film Theory: An Introduction (Blackwell Publishers, 1999), Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (1997), Unthinking Eurocentrism: Multiculturalism and the Media with Ella Shohat (1994), which won the Katherine Singer Kovocs 'Best Film Book Award'; and Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (1992). One feature, which came to characterize all of the Stam-Shohat collaborations was looking at theses issues within a longue timespan by placing the various "1492s" (i. Unthinking Eurocentrism: Multiculturalism and the Media (co-authored with Ella Shohat) won the Katherine Singer Kovács "Best Film Book" Award in 1994. Still, Bakhtin is perhaps the most quoted theorist here so Stam inevitably managed to include some sections on him that I found satisfying.