Chapter
Introduction: Post- , Grand, Classical or “So-Called”...
Chapter One The Brain’s Labor: on Marxism and The Movies
Capitalism’s Phantasmagoria
Chapter Two Racial Being, Affect and Media Cultures
Chapter Three Thinking Sex, Doing Gender, Watching film
Chapter Four “Complicated Negotiations”: Reception and Audience Studies into the Digital age
Spectatorship and Identity
The Empirical Moviegoer: The Spectator as Ticket Buyer
Toward a Synthesis: Reception Studies
Reception Studies into the Digital Age
Chapter Five World Cinema and its worlds
Chapter Six Screen Theory Beyond the Human: Toward an Ecomaterialism of the Moving image
Case Study 1: Baraka (1992)
Case Study 2: Titanic (1997)
Chapter Seven “We will Exchange your Likeness and Recreate you in What you will not...
Cinema Studies and Process Philosophy
A Note on “Western” and “Non-Western,” Philosophy and Theory
Arthur Jafa’s Process-Relational Cinema
Subjects? Objects? in a Relational Field
Whitehead’s Process Universe: Intensifying Atomistic Becomings
Sadrā’s Universe: Individuation in an Intensifying Flow
Glissant’s Relational Synthesis
Creativity and the Great Refusal
Part II What Screen Culture is
Chapter Eight Apparatus Theory, Plain and Simple
Chapter Nine Properties of Film Authorship
Politique des auteurs/Auteur Theory
The Death of the Author and Auteur-Structuralism
The Author, the Star and the Making of a Genre Film: Irma Vep (Olivier Assayas, 1996)
New Directions: Authorship, Cinephilia and the Promise of Democratic Emancipation
Chapter Ten “Deepest Ecstasy” Meets Cinema’s Social Subjects: Theorizing the Screen star
The Star and the Power of the Filmic Image
Sociology and the Collective Production of the Star
Producing Stars and Spectators as Subjects
Marlene Dietrich and the Projects of Film Theory
The Future of Star Studies in Film Theory
Chapter Eleven Rethinking Genre Memory: Hitchcock’s Vertigo and its Revision
Chapter Twelve Digital Technologies and the End(S) of Film theory
Process-Oriented Approaches
Chapter Thirteen How John the Baptist Kept His Head: My Life in Film Philosophy
Part III How we Understand Screen Texts
Chapter Fourteen The Expressive Sign: Cinesemiotics, Enunciation and Screen Art
Peirce’s Taxonomy of Signs, Referential Hybridity and Cinesemiotic Creativity
Connotation, Extra-Narrative Meaning and Artistic Invention
Alternative Proto-Linguistic Approaches and Film Worlds Theory
A “New” Pragmatics of Cinematic Enunciation, Style and Authorship
Chapter Fifteen Narratology in Motion: Causality, Puzzles and Narrative Twists
Film Style and Techniques
Extending the Puzzle Film
The Hollywood Puzzle Film: Ontological Pluralism and Cognitive Dissonance
Chapter Sixteen He(U)Retical Film Theory: When Cognitivism Meets Theory
From The Photoplay to Post-Theory and Beyond
Flicker: Your Brain on Movies
Neuronal Activity and Thought
Chapter Seventeen Philosophy Encounters the Moving Image: From Film Philosophy to Cinematic Thinking
Image, Movement, Time: Deleuze
Movement is Distinct from the Space Covered
Ancient versus Modern Conceptions of Movement
Movement Expresses a Qualitative Change in the Whole
Crisis of the Action-Image
Cinematic Mythmaking and the ‘End of the Myths’
‘Bold’ Film-Philosophy (Mulhall)
‘Moderate’ Film-Philosophy (Wartenberg)
Chapter Eighteen Screen Perception and Event: Beyond the Formalist/Realist divide
The Anthem Handbook of Screen Theory
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