Dudley Andrew

R Selden Rose Professor of Film and Comparative Literature Dudley Andrew

Steven Ungar

James Dudley Andrew

Professor of French and Chair of Cinema & Comparative Literature Steven Ungar

The authors highlight the new symbolic forces put in play by technologies of the illustrated press and the sound film - technologies that converged with efforts among writers, artists, and other intellectuals to respond to the crises of the decade.

Popular Front Paris and the Poetics of Culture

Allan Casebier

Author William Rothman

In Film and Phenomenology, Allan Casebier develops a theory of representation first indicated in the writings of the father of phenomenology, Edmund Husserl, and then applies it to the case of cinematic representation. This work provides one of the clearest expositions of Husserl's highly influential but often obscure thought. It also demonstrates the power of phenomenology to illuminate the experience of the art form unique to the twentieth-century cinema. Film and Phenomenology is intended as an antidote to all hitherto existing theories about the nature of cinematic representation, whether issuing from classic sources such as the film theory of Andre Bazin or the post-structuralist synthesis of Lacanian psychoanalysis, Barthesian textual analysis and Metzean cine-semiotics. Casebier shows how a phenomenological account of representation will further the aims of any film theory. Developing a viable feminist film theory, legitimizing the documentary, answering the challenge of Derridean deconstruction, properly theorizing narrativity, Film and Phenomenology argues that theory of film must be Realist both with respect to epistemology and ontological issues. In this way, this work runs contrary to the whole course of contemporary film theory which has been deeply anti-Realist.

Towards a Realist Theory of Cinematic Representation

Film and Phenomenology

An examination of pre-World War II French cinema, which analyzes the works of such directors as Renoir, Gremillon and Chenal in order to explain why the French were first to give maturity to the sound film. The study also describes the importance of these films in the context of French culture.

Culture and Sensibility in Classic French Film

Mists of Regret

R Selden Rose Professor of Film and Comparative Literature Dudley Andrew

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