Cinema Studies: The Key Concepts, Second edition

1 Cinema Studies: The Key ConceptsThis is the essential guide for anyone interested in film . Now in itssecond edition , the text has been completely revised and expanded tomeet the needs of today s students and film enthusiasts. Some 150 keygenres, movements, theories and production terms are explained andanalysed with depth and clarity. Entries include: auteur theory Black Cinema British New Wave feminist film theory intertextuality method acting pornography Third World Cinema War filmsA bibliography of essential writings in Cinema studies completes anauthoritative yet accessible guide to what is at once a fascinating areaof study and arguably the greatest art form of modern Hayward is Professor of French Studies at the University ofExeter. She is the author of French National Cinema (Routledge, 1998)and Luc Besson (MUP, 1998).

2 Also available from Routledge Key GuidesAncient History: Key Themes and ApproachesNeville MorleyCinema Studies: The Key Concepts ( Second edition )Susan HaywardEastern Philosophy: Key ReadingsOliver LeamanFifty Eastern ThinkersDian CollinsonFifty Contemporary ChoreographersEdited by Martha BremserFifty Key Contemporary ThinkersJohn LechteFifty Key Jewish ThinkersDan Cohn-SherbokFifty Key Thinkers on HistoryMarnie Hughes-WarringtonFifty Key Thinkers in International RelationsMartin GriffithsFifty Major PhilosophersDian CollinsonKey Concepts in Cultural TheoryAndrew Edgar and Peter SedgwickKey Concepts in Eastern PhilosophyOliver LeamanKey Concepts in Language and LinguisticsR. L. TraskKey Concepts in the Philosophy of EducationJohn Gingell and Christopher WinchKey Concepts in Popular MusicRoy ShukerKey Concepts in Post-Colonial StudiesBill Ashcroft, Gareth Griffiths and Helen TiffinSocial and Cultural Anthropology: The Key ConceptsNigel Rapport and Joanna OveringCinema Studies: The Key ConceptsSecond editionSusan HaywardLondon and New YorkFirst published 2000 by Routledge11 New Fetter Lane, London EC4P 4 EESimultaneously published in the USA and Canadaby Routledge29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis GroupThis edition published in the Taylor & Francis e-Library, 2001.

3 2000 Susan HaywardAll rights reserved. No part of this book may be reprinted or reproduced orutilized in any form or by any electronic, mechanical, or other means, nowknown or hereafter invented, including photocopying and recording, or inany information storage or retrieval system, without permission in writingfrom the publishersBritish Library Cataloguing in Publication DataA catalogue record for this book is available from the British LibraryLibrary of Congress Cataloging in Publication DataA catalogue record for this book has been requestedISBN 0-415-22739-9 (hbk)ISBN 0-415-22740-2 (pbk)ISBN 0-203-12994-6 Master e-book ISBNISBN 0-203-17993-5 (Glassbook Format)For my to the first ediition ixAcknowledgements xiList of Key ConceptsxiiiKEY CONCEPTS 1 Bibliography476 Index of Films 495 Name Index505 Subject Index517ixPREFACE TO THE FIRST EDITIONKey Concepts in Cinema Studies has been two years in the writing.

4 Itis intentionally an in-depth glossary which, it is hoped, will providestudents and teachers of film studies and other persons interested incinema with a useful reference book on key theoretical terms and,where appropriate, the various debates surrounding them. The glossaryalso gives historical overviews of key genres, film theory and filmmovements. Naturally, not everything is covered by these entries. Ina later edition further entries may be included, and I would welcomesuggestions of further entries from readers. The present book is basedon my perception of students needs when embarking on film studies;its intention is also to give teachers synopses for rapid referencepurposes. Entries have been written as lucidly and as succinctly aspossible, but doubtless there will be some dense areas; again Iwelcome feedback.

5 My own students have been very helpful in cross-references are in bold. Sometimes the actual conceptcross-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 thebibliography at the end of the book. Wherever it is useful to explain theparticular relevance or direction of a suggested text, this has beendone. Cross-references and bibliographies are given in order ofimportance wherever this seemed significant, otherwise in , instead of a table of contents in traditional style I havesupplied a list of all concepts dealt with in this book. Where a conceptis part of a larger issue, the entry is a cross-reference to the main entrywhere it is discussed (thus, jouissance is entered under the J entriesPreface to the first editionxbut as a cross-reference to psychoanalysis where it is explained.)

6 Atthe beginning of most entries there is a parenthesis suggesting thatyou consult other entries I believe you will find this dipping acrossuseful and that it will help widen the issue at thanks for the Second edition extend to Jacqueline Maingard forher help on certain entries (specifically Postcolonial Theory, ThirdCinema, Third World Cinema ); to my mother Kathleen Hayward for herassistance on the Bibliography. All other thanks remain the same. Thus,I would like to thank various people who have helped this projectalong. First, Rebecca Barden, my editor, whose unfailing enthusiasmfor the project has made it such an enjoyable book to write. Second ,colleagues, students and Routledge readers who put a lot of effort intogiving me feedback on the different entries. Third, I must express mythanks to the British film Institute for its existence and the extremelyhelpful librarians who made my task that much easier.

7 My thanks forthe First edition also go to Professor Jennifer Birkett for making timeavailable to complete the OF KEY CONCEPTSA absence/presenceadaptationagencyambiguit yanamorphic lensanimationapparatusart cinemaaspect ratioasynchronization/asynchronous soundaudienceauteur/auteur theory/politique des auteurs/Cahiersdu cin maavant-gardeBbackstage musical see musicalBlack Cinema UKBlack Cinema /Blaxploitation movies USAB-moviesbody horror films see horror filmsBritish New Wavebuddy filmsList of key conceptsxivCCahiers du cin ma group see auteur/auteur theory, FrenchNew Wavecastration/decapitation see psychoanalysiscensorshipcinema n vocinemascopecin ma-v rit classclassic canons see codes and conventionsclassic Hollywood Cinema /classic narrative Cinema /classical narrative cinemacodes and conventions/classic canonscolourcomedyconnotation see denotation/connotationcontent see form/contentcontinuity editingcostume dramascounter- Cinema /oppositional cinemacrime thriller, criminal films see film noir, gangster/criminaldetective thriller, private-eye films, thrillercross-cuttingcutDdecapitation see castration/decapitationdeconstructiondee p focus/depth of fielddenotation/connotationdepth of field see deep focusdesire see fantasy, flashbacks, narrative, spectator, stars.

8 Subjectivitydetective thriller see gangster filmsdiachronic/synchronicdiegesis/diege tic/non-diegetic/extra- and intra-diegeticdirectordirector of photographydiscoursedisruption/resolutio nList of key conceptsxvdissolve/lap-dissolvedistancia tiondocumentarydollying shot see tracking shotdominant/mainstream cinemaEediting/Soviet montageellipsisemblematic shotenunciationepicsEuropean cinemaeyeline matchingexcessexpressionism see German expressionismFfadefantasy/fantasy filmsfemale spectator see spectatorfeminist film theoryfetishism see film noir, voyeurism/fetishismfilm industry see Hollywood, studio systemfilm noirfilm theory see theoryflashbackforegroundingform/content framingFree British CinemaFrench New Wave/Nouvelle VagueFrench poetic realismfuturismGgangster/criminal/detect ive thriller/private-eye filmsgaze/lookgenderList of key conceptsxvigenre/sub-genreGerman expressionismGermany/New German cinemagesturalitygothic horror see horrorHHammer horror see horrorHays codehegemonyhistorical films/reconstructionsHollywoodHollywood blacklistHollywood majors see classic Hollywood Cinema , studio systemhorror/gothic horror /Hammer horror /horrorthriller/body horror /vampire moviesIiconographyidentification see distanciation, spectator-identificationidentity see psychoanalysis, spectator-identification.

9 SubjectivityideologyimageImaginary/Symbo licindependent cinemaintertextualityItalian neo-realismJjouissance see psychoanalysisjump cutLlap dissolve see dissolvelightinglook see gaze/look, imaginary/symbolic, scopophilia, sutureList of key conceptsxviiMmainstream Cinema see dominant/mainstream cinemamatchcuttingmediationmelodrama and women s filmsmetalanguagemetaphor see metonymy/metaphormethod actingmetonymy/metaphormise-en-ab memise-en-sc nemisrecognition see psychoanalysis, suturemodernismmontage see editing, Soviet cinemamotivationmusicalmythNnarrative/na rrationnaturalizingnaturalismneo-realism see Italian neo-realismNew German Cinema see Germany/New German cinemaNew Wave/Nouvelle Vague see French New WaveOOedipal trajectory180-degree ruleopposition see narrative, sequencingoppositional Cinema see counter-cinemaPparadigmatic/syntagmatic see structuralism/post-structuralismparallel reversalparallel sequencing see editingpatriarchy see Imaginary/Symbolic, Oedipal trajectory,psychoanalysisList of key conceptsxviiiperformance see gesturality, star systemplot/story see classical Hollywood Cinema , discourse, narrativepoint of view/subjectivity see subjective camera, subjectivitypolitique des auteurs see auteur, French New Wave, mise-en-sc nepornographypostcolonial theorypostmodernismpost-structuralism see structuralism/post-structuralismpreferre d readingpresence see absence/presenceprivate-eye films see gangster filmsproducerprojection see apparatus.

10 Psychoanalysisprojector see apparatuspsychoanalysispsychological thriller see thrillerQQueer cinemaRrealismreconstructions see historical filmsrepetition/variation/opposition see narration, sequencingrepresentation see feminist film theory, gender, sexuality,stereotypes, subjectivityresistances see avant-garde, counter-cinemareverse-angle shot see shot/reverse-angle shotroad movierules and rule-breaking see counter- Cinema , jump cutSscience fiction filmsscopophilia/scopic drive/visual pleasureseamlessnesssemiology/semiotics/ sign and significationsequencing/sequencesettings exualityList of key conceptsxixshotsshot/reverse-angle shotsign/signification see semiology/semioticssocial realismsound/soundtrackSoviet Cinema /schoolSoviet montage see editing, Soviet cinemaspace and time/spatial and temporal contiguityspectator/spectator-identifica tion/female spectatorstars/star system/star as capital value/star asconstruct/star as deviant/star as cultural value.