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 Ancient History: Key Themes and Approaches Neville Morley 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 Preface to the first edition but as a cross-reference to ‘psychoanalysis’ where it is explained. At the beginning of most entries there is a parenthesis suggesting that you consult other entries – I believe you will find this dipping across useful and that it will help widen the issue at hand. x ACKNOWLEDGEMENTS My thanks for the Second Edition extend to Jacqueline Maingard for her help on certain entries (specifically Postcolonial Theory, Third Cinema, Third World Cinema); to my mother Kathleen Hayward for her assistance on the Bibliography. All other thanks remain the same. Thus, I would like to thank various people who have helped this project along. First, Rebecca Barden, my editor, whose unfailing enthusiasm for the project has made it such an enjoyable book to write. Second, colleagues, students and Routledge readers who put a lot of effort into giving me feedback on the different entries. Third, I must express my thanks to the British Film Institute for its existence and the extremely helpful librarians who made my task that much easier. My thanks for the First Edition also go to Professor Jennifer Birkett for making time available to complete the project. xi LIST OF KEY CONCEPTS A absence/presence adaptation agency ambiguity anamorphic lens animation apparatus art cinema aspect ratio asynchronization/asynchronous sound audience auteur/auteur theory/politique des auteurs/Cahiers du cinéma avant-garde B backstage musical see musical Black cinema – UK Black cinema/Blaxploitation movies – USA B-movies body horror films see horror films British New Wave buddy films xiii List of key concepts C Cahiers du cinéma group see auteur/auteur theory, French New Wave castration/decapitation see psychoanalysis censorship cinema nôvo cinemascope cinéma-vérité class classic canons see codes and conventions classic Hollywood cinema/classic narrative cinema/ classical narrative cinema codes and conventions/classic canons colour comedy connotation see denotation/connotation content see form/content continuity editing costume dramas counter-cinema/oppositional cinema crime thriller, criminal films see film noir, gangster/criminal detective thriller, private-eye films, thriller cross-cutting cut D decapitation see castration/decapitation deconstruction deep focus/depth of field denotation/connotation depth of field see deep focus desire see fantasy, flashbacks, narrative, spectator, stars, subjectivity detective thriller see gangster films diachronic/synchronic diegesis/diegetic/non-diegetic/extra- and intra-diegetic director director of photography discourse disruption/resolution xiv List of key concepts dissolve/lap-dissolve distanciation documentary dollying shot see tracking shot dominant/mainstream cinema E editing/Soviet montage ellipsis emblematic shot enunciation epics European cinema eyeline matching excess expressionism see German expressionism F fade fantasy/fantasy films female spectator see spectator feminist film theory fetishism see film noir, voyeurism/fetishism film industry see Hollywood, studio system film noir film theory see theory flashback foregrounding form/content framing Free British Cinema French New Wave/Nouvelle Vague French poetic realism futurism G gangster/criminal/detective thriller/private-eye films gaze/look gender xv List of key concepts genre/sub-genre German expressionism Germany/New German cinema gesturality gothic horror see horror H Hammer horror see horror Hays code hegemony historical films/reconstructions Hollywood Hollywood blacklist Hollywood majors see classic Hollywood cinema, studio system horror/gothic horror/Hammer horror/horror thriller/body horror/vampire movies I iconography identification see distanciation, spectator-identification identity see psychoanalysis, spectator-identification, subjectivity ideology image Imaginary/Symbolic independent cinema intertextuality Italian neo-realism J jouissance see psychoanalysis jump cut L lap dissolve see dissolve lighting look see gaze/look, imaginary/symbolic, scopophilia, suture xvi List of key concepts M mainstream cinema see dominant/mainstream cinema matchcutting mediation melodrama and women’s films metalanguage metaphor see metonymy/metaphor method acting metonymy/metaphor mise-en-abîme mise-en-scène misrecognition see psychoanalysis, suture modernism montage see editing, Soviet cinema motivation musical myth N narrative/narration naturalizing naturalism neo-realism see Italian neo-realism New German cinema see Germany/New German cinema New Wave/Nouvelle Vague see French New Wave O Oedipal trajectory 180-degree rule opposition see narrative, sequencing