Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that “with Metz a new research paradigm is born, as well as a new generation of scholars.
Essays by members
Examining Walter Ruttmann’s early animated advertisements in relation both to his Opus films and to contemporary advertising psychology, this article argues that advertising, far from representing a marginal phenomenon or a compromise of artistic integrity, was central to Ruttmann’s professional identity as an avant-garde filmmaker.
In the light of recent debates in film studies over the nature of film theory and the kinds of knowledge it produces, this paper examines some of the epistemological issues currently being raised by film scholars.
Why is it that true interdisciplinary work, that which calls upon several paradigms to construct knowledge appropriate to a given situation, in the field of films studies can be counted, in France at least, on the fingers of one hand ?
This summer, Haidee Wasson presented « Siegfried Kracauer’s Secret Business: A German Émigré and American Institutions of Film Art (1939 –1945) » at the international conference Geographies of film Theory held at the University of London.
In 1963 and 1965 Jean Mitrypublished two massive tomes that, according to Christian Metz who reviewed them, bookended the period sometimes known as ‘classical film theory.’ Just slightly under 1000 pages long, printed in a large format, the two books are colossal in both size and scope.There is a common underlying thread that joins together aspects of Esthéti
At the end of the 1940s Gilbert Cohen-Séat convinces the Sorbonne to offer a degree in film studies through l’Institut de filmologie. This is the first such degree to be offered by a French university until 1962, when the Institute is shut down.