Explorations in Film Theory

FOREWORD BY KAJA SILVERMAN ACKNOWLEDGMENTS INTRODUCTION: PLENTY TO SEE EVERYWHERE I. THE TURN OF THE SUBJECT: PSYCHOANALYSIS/FEMINISM/IDENTIFICATION I. Spectacle and Spectator: Patricia Mellencamp II. Misrecognition and Identity: Mary Ann Doane III. The Turn of the Subject: Stephen Heath IV. Film Body: Linda Williams V. Images and Pornography: Claire Pajaczkowska VI. Primaru Identification and the Historical Subject: Thomas Elsaesser II. THE DOCUMENTARY CINEMA: REALISM AND REPRESENTATION VII. Self-Reflexivity in Documentary: Jeanne Allen VIII. The Crisis of the Documentary Film in Quebec: Ron Burnett IX. Realism, Naturalism, and Their Alternatives: Raymond Williams X. Film as Word: Peter Ohlin XI. Man with a Movie Camera and WomanOs Work: Judith Mayne III. SIGNS OF MEANING: THE IMAGE IN QUESTION XII. Paradoxes of Realism: Margaret Morse XIII. Culture, History, and Ambivalence XIV. Questions of Property: Stephen Heath XV. The Fundamental Reproach XVI. Semiotics, Theory, and Social Practice IV. FILM FORM/FILM HISTORY XVII. Media Repression: Peter Watkins XVIII. Camera Movement and Cinematic Space XIX. The Myth of Total Cinema History XX. Notes on Communication and Representation in the Development of Educational Television XXI. The Consolidation of the American Film Industry XXII. Song of the Shirt; Alison Beale Contributors