Impressionism and Ideology
The State of Recent Genre Film Criticism
Bibliographic Data
| ID | 8895185 |
|---|---|
| Authors | Barry Keith Grant (0009-0001-2597-7673, corresponding author) |
| Year | 1983 |
| Volume | 14 |
| Issue | 1 |
| Pages | 107-118 |
| Publication date | 1983-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Canadian Review of American Studies (JOURNAL) |
| Journal identifiers | ISSN: 0007-7720 • E-ISSN: 1710-114X |
| Publisher | University of Toronto Press Inc. (UTPress) (PUBLISHER) |
| DOI | 10.3138/cras-014-01-10 |
| OpenAlex | W2023290743 |
| Language | EN |
| References cited | 4 |
Carlos Clarens, Crime Movies. New York : Norton, 1980.351 pp. Stephen Neale. Genre. London : British Film Institute. 1980.74 pp. Eugene Rosow. Born to Lose: The Gangster Film in America. New York: Oxford University Press, 1978. 422 + xv pp. Thomas Schatz. Hollywood Genres: Formulas. Filmmaking, and the Studio System. New York: Random House, 1981.297 + xiv pp. When film study began to mature in the mid-seventies, interest in the narrative film, which had been nurtured a decade earlier by auteurism's enthusiasm for popular film, waned in favor of more formal concerns. Critical interest shifted from the signified of films to the practice of signification, from what a film means to how it produces meaning. Structural film was particularly amenable to such an approach. No longer was film assumed to have an inviol- able meaning ; rather, meaning was now understood to arise from the con- junction of various discursive codes at work in the cinematic text. Auteurs no longer existed apart from such contexts, nor could they acceptably be studied in this manner again; as Roland Barthes had shown, writing degree zero was impossible.1
Art · Art history · Criticism · Enthusiasm · Epistemology · Film genre · Filmmaking · Hollywood · Ideology · Literature · Meaning (existential · Movie theater · Narrative · Political science · Politics · State (computer science · Theology · Cinema and Media Studies · Law · Philosophy · Shakespeare, Adaptation, and Literary Criticism
| Highly cited | No |
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