LEADER 05195nam 2200601Ia 450 001 9910821420303321 005 20200520144314.0 010 $a0-674-02853-8 024 7 $a10.4159/9780674028531 035 $a(CKB)1000000000423475 035 $a(SSID)ssj0000276538 035 $a(PQKBManifestationID)11241134 035 $a(PQKBTitleCode)TC0000276538 035 $a(PQKBWorkID)10226129 035 $a(PQKB)11323926 035 $a(Au-PeEL)EBL3300141 035 $a(CaPaEBR)ebr10313858 035 $a(OCoLC)746951081 035 $a(DE-B1597)571769 035 $a(DE-B1597)9780674028531 035 $a(MiAaPQ)EBC3300141 035 $a(EXLCZ)991000000000423475 100 $a19890117d1989 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMaking meaning $einference and rhetoric in the interpretation of cinema /$fDavid Bordwell 205 $a1st ed. 210 $aCambridge, MA $cHarvard University Press$d1989 215 $a1 online resource (xvi, 334 pages) $cill 225 1 $aHarvard film studies 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-674-54335-1 311 0 $a0-674-54336-X 320 $aIncludes bibliographical references (p. [277]-328) and index. 327 $tFront matter --$tContents --$tPreface --$t1. Making Films Mean --$tInterpretation as Construction --$tMeaning Made --$tInterpretive Doctrines --$t2. Routines and Practices --$tIntroduction --$tInterpretation Inc. --$tThe Logic of Discovery or Problem-Solving --$tThe Logic of Justification or Rhetoric --$tAn Anatomy of Interpretation --$t3. Interpretation as Explication --$tThe French Connection --$tExplication Academicized --$tPicture Planes --$tMeaning and Unity --$t4. Symptomatic Interpretation --$tIntroduction --$tCulture Dream and Lauren Bacall --$tMyth as Antinomy --$tSysteme a la Mode --$tThe Contradictory Text --$tSymptoms and Explications --$t5. Semantic Fields --$tIntroduction --$tMeanings in Structures --$tStructures of Meaning --$tThe Role of Semantic Fields --$t6. Schemata and Heuristics --$tMapping as Making --$tKnowledge Structures and Routines --$tMapping as Modeling --$t7. Two Basic Schemata --$tIs There a Class for This Text? --$tMaking Films Personal --$t8. Text Schemata --$tIntroduction --$tA Bull's-Eye Schema --$tMeaning Inside Out and Outside In --$tTextual Trajectories --$tDoctrines into Diachronies --$t9. Interpretation as Rhetoric --$tIntroduction --$tSample Strategies --$tTheory Talk --$t10. Rhetoric in Action: Seven Models of Psycho --$tJean Douchet, "Hitch and His Public" (1960) --$tRobin Wood, "Psycho," Hitchcock's Films (1965) --$tRaymond Durgnat, "Inside Norman Bates," Films and Feelings (1967) --$tV. F. Perkins, "The World and Its Image," Film as Film (1972) --$tRaymond Bellour, "Psychosis, Neurosis, Perversion" (1979) --$tBarbara Klinger, "Psycho: The Institutionalization of Female Sexuality" (1982) --$tLeland Poague, "Links in a Chain: Psycho and Film Classicism" (1986) --$t11. Why Not to Read a Film --$tThe Ends of Interpretation --$tThe End of Interpretation? --$tProspects for a Poetics --$tNotes --$tIndex 330 $aDavid Bordwell?s new book is at once a history of film criticism, an analysis of how critics interpret film, and a proposal for an alternative program for film studies. It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such Making Meaning should be a landmark book, a focus for debate from which future film study will evolve. Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques?a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis. 410 0$aHarvard film studies. 606 $aFilm criticism 606 $aMotion pictures 615 0$aFilm criticism. 615 0$aMotion pictures. 676 $a791.43/01/5 700 $aBordwell$b David$0144430 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910821420303321 996 $aMaking Meaning$91636107 997 $aUNINA