Cinema Studies: The Key Concepts: 2nd Edition (Key Concepts) (Routledge Key Guides)

550 Pages·2000·2.39 MB·English

by  Susan Hayward

Cinema Studies:
The Key Concepts
This is the essential guide for anyone interested in film. Now in its
second edition, the text has been completely revised and expanded to
meet the needs of today’s students and film enthusiasts. Some 150 key
genres, movements, theories and production terms are explained and
analysed with depth and clarity. Entries include:
• auteur theory
• Black Cinema
• British New Wave
• feminist film theory
• intertextuality
• method acting
• pornography
• Third World Cinema
• War films
A bibliography of essential writings in cinema studies completes an
authoritative yet accessible guide to what is at once a fascinating area
of study and arguably the greatest art form of modern times.
Susan Hayward is Professor of French Studies at the University of
Exeter. She is the author of French National Cinema (Routledge, 1998)
and Luc Besson (MUP, 1998).
Also available from Routledge Key Guides
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Cinema Studies: The Key Concepts (Second edition)
Susan Hayward
Eastern Philosophy: Key Readings
Oliver Leaman
Fifty Eastern Thinkers
Diané Collinson
Fifty Contemporary Choreographers
Edited by Martha Bremser
Fifty Key Contemporary Thinkers
John Lechte
Fifty Key Jewish Thinkers
Dan Cohn-Sherbok
Fifty Key Thinkers on History
Marnie Hughes-Warrington
Fifty Key Thinkers in International Relations
Martin Griffiths
Fifty Major Philosophers
Diané Collinson
Key Concepts in Cultural Theory
Andrew Edgar and Peter Sedgwick
Key Concepts in Eastern Philosophy
Oliver Leaman
Key Concepts in Language and Linguistics
R. L. Trask
Key Concepts in the Philosophy of Education
John Gingell and Christopher Winch
Key Concepts in Popular Music
Roy Shuker
Key Concepts in Post-Colonial Studies
Bill Ashcroft, Gareth Griffiths and Helen Tiffin
Social and Cultural Anthropology: The Key Concepts
Nigel Rapport and Joanna Overing
Cinema Studies:
The Key Concepts
Second edition
Susan Hayward
London and New York
First published 2000 by Routledge
11 New Fetter Lane, London EC4P 4EE
Simultaneously published in the USA and Canada
by Routledge
29 West 35th Street, New York, NY 10001
Routledge is an imprint of the Taylor & Francis Group
This edition published in the Taylor & Francis e-Library, 2001.
© 2000 Susan Hayward
All rights reserved. No part of this book may be reprinted or reproduced or
utilized in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
A catalogue record for this book has been requested
ISBN 0-415-22739-9 (hbk)
ISBN 0-415-22740-2 (pbk)
ISBN 0-203-12994-6 Master e-book ISBN
ISBN 0-203-17993-5 (Glassbook Format)
For my students.

CONTENTS
Preface to the first ediition ix
Acknowledgements xi
List of Key Concepts xiii
KEY CONCEPTS 1
Bibliography 476
Index of Films 495
Name Index 505
Subject Index 517
vii

PREFACE TO THE FIRST EDITION
Key Concepts in Cinema Studies has been two years in the writing. It
is intentionally an in-depth glossary which, it is hoped, will provide
students and teachers of film studies and other persons interested in
cinema with a useful reference book on key theoretical terms and,
where appropriate, the various debates surrounding them. The glossary
also gives historical overviews of key genres, film theory and film
movements. Naturally, not ‘everything’ is covered by these entries. In
a later edition further entries may be included, and I would welcome
suggestions of further entries from readers. The present book is based
on my perception of students’ needs when embarking on film studies;
its intention is also to give teachers synopses for rapid reference
purposes. Entries have been written as lucidly and as succinctly as
possible, but doubtless there will be some ‘dense’ areas; again I
welcome feedback. My own students have been very helpful in this
area.
All cross-references are in bold. Sometimes the actual concept
cross-referred may not be the precise form in the entry (for example,
ideological in bold actually refers to an entry on ideology).
Bibliographical citations at the end of certain entries refer to the
bibliography at the end of the book. Wherever it is useful to explain the
particular relevance or direction of a suggested text, this has been
done. Cross-references and bibliographies are given in order of
importance wherever this seemed significant, otherwise in alphabetical
order.
Finally, instead of a table of contents in traditional style I have
supplied a list of all concepts dealt with in this book. Where a concept
is part of a larger issue, the entry is a cross-reference to the main entry
where it is discussed (thus, ‘jouissance’ is entered under the ‘J’ entries
ix