Theory of Film

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ISBN: 9780691037042 | 0691037043
Cover: Paperback
Copyright: 11/24/1997

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Siegfried Kracauer's classic study, originally published in 1960, explores the distinctive qualities of the cinematic medium. The book takes its place alongside works in classical film theory by such figures as Béla Balázs, Rudolf Arnheim, and André Bazin, among others, and has met with much critical dispute. In this new edition, Miriam Bratu Hansen, examining the book in the context of Kracauer's extensive film criticism from the 1920s, provides a framework for appreciating the significance ofTheory of Filmfor contemporary film theory.

INTRODUCTION

vii

(40)

Miriam Bratu Hansen

PREFACE

xlvii

(6)

ACKNOWLEDGMENTS

liii

INTRODUCTION

1. Photography

(24)

HISTORICAL SURVEY

(8)

Early view and trends

(4)

Current views and trends

(4)

SYSTEMATIC CONSIDERATIONS

(15)

The Basic aesthetic principle

(1)

The photographic approach

(5)

Affinities

(3)

Appeals

(1)

The issue of art

(5)

I. GENERAL CHARACTERISTICS

(50)

2. Basic Concepts

(14)

PROPERTIES OF THE MEDIUM

(2)

THE TWO MAIN TENDENCIES

(7)

Lumiere and Melies

(3)

The realistic tendency

(2)

The formative tendency

(1)

Clashes between the two tendencies

(1)

THE CINEMATIC APPROACH

(2)

THE ISSUE OF ART

(2)

3. The Establishment of Physical Existence

(19)

RECORDING FUNCTIONS

(5)

Movement

(4)

Inanimate objects

(1)

REVEALING FUNCTIONS

(14)

Things normally unseen

(11)

Phenomena overwhelming consciousness

(1)

Special modes of reality

(2)

4. Inherent Affinities

(17)

THE UNSTAGED

(2)

THE FORTUITOUS

(1)

ENDLESSNESS

(5)

24 consecutive hours

(1)

Routes of passage

(4)

THE INDETERMINATE

(3)

Psychophysical correspondences

(1)

A basic editing principle

(2)

THE "FLOW OF LIFE"

(6)

Once again the street

(1)

Stage interludes

(4)

II. AREAS AND ELEMENTS

(98)

5. History and Fantasy

(16)

HISTORY

(5)

Difficulties

(2)

Compromises

(3)

FANTASY

(11)

Scheme of analysis

(1)

Fantasy established in a stagy manner

(3)

Fantasy established by means of cinematic devices

(3)

Fantasy established in terms of physical reality

(3)

6. Remarks on the Actor

(9)

QUALITIES

(3)

Emphasis on being

(1)

Casualness

(1)

Physique

(1)

FUNCTIONS

(2)

Object among objects

(1)

TYPES

(4)

The non-actor

(1)

The Hollywood star

(1)

The professional actor

100

(2)

7. Dialogue and Sound

102

(31)

INTRODUCTION

102

(2)

Early misgivings

102

(1)

Basic requirement

103

(1)

DIALOGUE

104

(20)

The role of the spoken word

104

(7)

Manner of synchronization

111

(13)

SOUND PROPER

124

(9)

About the nature of sound

124

(1)

Reliance on symbolic meanings

125

(2)

Role

127

(1)

Manner of synchronization

128

(5)

8. Music

133

(24)

PHYSIOLOGICAL FUNCTIONS

133

(6)

The archaic era

133

(1)

Music, imagery, and spectator

134

(5)

AESTHETIC FUNCTIONS

139

(18)

Commentative music

139

(5)

Actual music

144

(8)

Music as the nucleus of film

152

(5)

9. The Spectator

157

(18)

EFFECTS

157

(9)

Impact on the senses

158

(1)

Lowered consciousness

159

(1)

Excursion: Propaganda and film

160

(3)

Dreaming

163

(3)

GRATIFICATIONS

166

(9)

Film and television

166

(1)

Hunger for life

167

(2)

The concept of life as such

169

(1)

Film-the "glistening wheel of life"

170

(1)

Child-like omnipotence

171

(1)

Return from the dreamland

171

(4)

III. COMPOSITION

175

(110)

10. Experimental film

175

(18)

INTRODUCTION: THE TWO MAIN FILM TYPES

175

(2)

ORIGINS

177

(1)

The avant-garde movement

177

(1)

Paradigmatic character of the avant-garde

178

(1)

AVANT-GARDE INTENTIONS

178

(4)

The controversial story

178

(1)

Cinematic language

179

(1)

Physical reality

180

(1)

"The least realistic of arts"

181

(1)

AVANT-GARDE TRENDS

182

(11)

ENTR'ACTE

182

(1)

Emphasis on rhythm

183

(4)

Emphasis on content

187

(5)

Conclusions

192

(1)

11. The Film of Fact

193

(22)

INTRODUCTION

193

(2)

Genres

193

(1)

Characteristics

193

(1)

Scope of investigation

194

(1)

THE FILM ON ART

195

(6)

Gain in three-dimensional naturalness

195

(1)

The experimental trend

196

(3)

The documentary trend

199

(2)

DOCUMENTARY

201

(14)

Concern about material reality

201

(5)

Indifference to material reality

206

(5)

Re-emergence of the story

211

(4)

12. The Theatrical Story

215

(17)

INTRODUCTION

215

(1)

Form and content

215

(1)

An uncinematic story form

216

(1)

ORIGINS AND SOURCES

216

(2)

CHARACTERISTICS

218

(4)

Emphasis on human interaction

218

(1)

Complex units

219

(1)

Detachable patterns of meanings

220

(1)

A whole with a purpose

221

(1)

ATTEMPTS AT ADJUSTMENT

222

(8)

The "most marvelous things"

222

(3)

Two alternatives

225

(5)

CONCLUSIONS

230

(2)

Insoluble dilemma

230

(1)

D. W. Griffith's admirable nonsolution

231

(1)

13. Interlude: Film and Novel

232

(13)

SIMILARITIES

232

(2)

Like film, the novel tends to render life in its fullness

232

(1)

Like film, the novel aspires to endlessness

233

(1)

DIFFERENCES

234

(5)

Formal properties

234

(3)

Two worlds

237

(2)

ABOUT ADAPTATIONS FROM NOVELS

239

(6)

Difference in cinematic quality

239

(1)

The content of novels

239

(1)

Cinematic adaptations

240

(2)

Uncinematic adaptations

242

(3)

14. The Found Story and the Episode

245

(17)

THE FOUND STORY

245

(6)

Definitions

245

(1)

Types

246

(5)

THE EPISODE

251

(11)

Definitions

251

(1)

Types

252

(2)

Structure

254

(6)

A framing device

260

(2)

15. Matters of Content

262

(23)

THREE ASPECTS OF CONTENT

262

(1)

UNCINEMATIC CONTENT

263

(7)

Conceptual reasoning

263

(2)

The tragic

265

(5)

CINEMATIC CONTENT

270

(15)

Subject matter

270

(2)

Motifs

272

(13)

EPILOGUE

285

(28)

16. Film in Our Time

285

(28)

PRIMACY OF INNER LIFE?

285

(2)

THE INTELLECTUAL LANDSCAPE

287

(9)

"Ruins of ancient beliefs"

287

(1)

Vistas

288

(3)

Highways through the void

291

(3)

Challenge

294

(2)

EXPERIENCE AND ITS MATERIAL

296

(4)

"Radiance of the sunset"

296

(1)

Reality within reach

297

(1)

Physical reality as the domain of film

298

(2)

THE REDEMPTION OF PHYSICAL REALITY

300

(13)

Art with a difference

300

(3)

Moments of everyday life

303

(1)

Material evidence

304

(4)

From bottom to top

308

(1)

"The Family of Man"

309

(4)

NOTES

313

(26)

BIBLIOGRAPHY

339

(12)

INDEX

351

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Theory of Film

Summary

Table of Contents

Supplemental Materials