TAILIEUCHUNG - THE CINEMATIC TEXT: METHODS AND APPROACHES

If you enjoyed the electronic edition of Pirate Cinema and you want to donate something to say thanks, go to ‹› and find a teacher or librarian you want to support. Then go to Amazon, , or your favorite electronic bookseller and order a copy to the classroom, then email a copy of the receipt (feel free to delete your address and other personal info first!) to ‹freepiratecinema@› so that Olga can mark that copy as sent. If you don't want to be publicly acknowledged for your generosity, let us know and we'll keep you anonymous, otherwise we'll thank you on the donate page. I've done this. | THE CINEMATIC TEXT Methods and Approaches Georgia State Literary Studies Number 3 Edited by R. Barton Palmer HISTORICAL POETICS OF CINEMA David Bordwell INTRODUCTION The volume you hold in your hands belongs to a genre that came into currency during the postwar boom in college literary criticism. In the late 1940s two major works Wellek and Warren s Theory of Literature and Stanley Edgar Hyman s The Armed Vision set forth the premise that literary studies played host to distinct methods. 1 Intrinsic extrinsic textual contextual sociological psychological Marxist psychoanalytic archetypal formalist deconstructionist reader-responsiveness as such categories have accumulated over the last forty years many members of the literary institution have believed themselves to be moving beyond the doctrines of New Criticism. While the field was being carved up methodically the anthology of approaches moved into the library and the classroom. The genre became a going concern in the 1950s and 1960s and it continues to The present book reminds US that film studies has as part of its entry into the academy come to subscribe to such critical Methodism an affiliation testified to by the title of one of the most popular anthologies Movies and A recent collection of approaches to television criticism may signal the legitimation of TV studies under the same There would be much to remark on in this process not least the extent to which film and television studies may seek to establish their seriousness by asserting that whatever the intrinsic importance of the object of study a set of up-to-date approaches constitutes adequate credentials. But I sketch this institutional background for another 369 370 The Cinematic Text reason to establish that historical poetics does not grow organically out of this history and this for a very good reason. What I shall be discussing is not a method at all. In film studies as in its literary counterpart method has been .

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