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Instead, Schrader discusses several twentieth-century directors - Japan's Yasujiro Ozu, France's Robert Bresson, and Denmark's Carl Theodor Dreyer - in the light of their films as spiritual art. Transcendental Style in Film: Ozu, Bresson, Dreyer: by Paul Schrader, with a new introduction, Berkeley, University of California Press, 2018, ix + 218 pp., $29.95/£24.00 (paper) Celebrated screenwriter and director Paul Schrader has released a new edition (2018) of his book I Transcendental Style in Film: Ozu, Bresson, Dreyer i , first published in 1972. [Extracted from the article]

Film scholar Lucy Fischer opens this book with a preface called "Magritte and Me" in which she tells of her longstanding love of René Magritte's art and the significance this art has had on her life and on her teaching film studies. She then elaborates this concept of resonance arguing that Magritte's art is "realistic" but that it raises conceptual issues that are of importance to film and cinema, arguing that he is as much a philosopher as he is a surrealist artist. Part one; "Backstory", consisting of four chapters, examines films that have been made about Magritte, films Magritte made himself (home movies), film tributes to Magritte and surrealist films directly influenced by Magritte's work. [Extracted from the article]

Beginning with a promise of realizing a spatial critique in film studies, this book contributes to the spatial turn in film studies.It discusses a variety of issues using space as an entry point: cinematic space, place images, institutional and pre-production contexts and their afterlives. The book broadly uses colonial films, Hindi cinema and Bengali films in constituting India as a filmed space; a clarification to this end would have been useful. [Extracted from the article]

In a 1981 interview with Tom Ryan and Brian Macfarlane for I Cinema Paper i s, Peter Weir was asked, 'To what extent do you see yourself as an "auteur", as the controlling influence over your films? Rather, what Weir focuses his attention on, according to many of the interviews in this edited work, is filmmaking as process and as business: music, lighting, cinematography, blocking, screenwriting, etc. He is certainly not a conformist nor is he trendy (he has not directed a film since I The Way Back i in 2010); yet, he speaks about his disappointment when his films are critically and/or financially unsuccessful, examples being I The Mosquito Coast i (1986) and I Green Card i (1990). [Extracted from the article]

One may question such a selection process, as the anthology does seem to focus on a select group of philosophers at the expense of many focused practitioners of the very film theory that the edition hopes to elucidate. I Philosophers on Film from Bergson to Badiou i is a recent collection of essays from leading Continental Philosophers of the past century. [Extracted from the article]

This chapter discusses six notable books published in 2021 (with the exception of Shane Denson's work, published in late 2020), chosen so as to illustrate both the depth and the breadth of the year's work in film theory and criticism. It is divided into seven sections: 1. Shane Denson, Discorrelated Images ; 2. Adriana Gordjuela, Flashbacks in Film ; 3. Paul Coates, Comparative Cinema ; 4. Anna Backman Rogers, Still Life ; 5. Daniel Morgan, The Lure of the Image ; 6. Hoi Lun Law, Ambiguity and Film Criticism ; 7. Conclusion. [ABSTRACT FROM AUTHOR]

Studying Film with André Bazin With her recent book I Studying Film with André Bazin i , Blandine Joret illustrates how Bazin continues to appeal to the imagination of contemporary film scholars. Joret systematically explains that Bazin aimed to interpret film as a medium of unlimited and unexplored possibilities. [Extracted from the article]

This way, I Cinematic Vitalism i contextualizes the earliest film practices and theories as inherently interdisciplinary and convincingly explores the active contribution of cinema to early twentieth-century vitalism. With Bergsonian references in selected texts from Bazin on neorealism and art documentaries, finally, Pollman comes full circle as film theory continues to spiral around the question of life. By closely analyzing specific film techniques like shot lengths or setting arrangements that emphasize a perceptive relation with the spectator, Pollman provides concrete ground for I Stimmung i in film aesthetics. [Extracted from the article]

This chapter reviews books published in 2007 and 2008 in the field of film theory and cinema studies. It is divided into 11 sections: 1. The Cavellian Moment; 2. Ontology and the Real; 3. The Uneasiness of Cinema Studies in a Post-Medium Condition; 4. Cinematic Thinking; 5. Sister Arts? Pictures, Poses and the Real; 6. Art and the Moving Image; 7. Tableaux Morts and Vivants; 8. Confessions of an Aesthete; 9. Cinema and Modernism; 10. Living Bodies, Carnal Pleasures; 11. Childhood and Cinema. [ABSTRACT FROM PUBLISHER]

A review of the book "New Philosophies of Film: Thinking Images," by Robert Sinnerbrink is presented.

The article reviews the book "A Philosophy of Cinematic Art," by Berys Gaut

The article reviews the book "Moving Viewers: American Film and the Spectator's Experience," by Carl Plantinga.

A review of the book "Film-Kino-Zuschauer: Filmrezeption/Film--Cinema--Spectator: Film Reception," edited by Irmbert Schenk, Margrit Tröhler, and Yvonne Zimmerman, is presented.

The article reviews the book "Thinking in Images: Film Theory, Feminist Philosophy and Marlene Dietrich," by Catherine Constable.

The article reviews the book "Closely Watched Films: An Introduction to the Art of Narrative Film Technique," by Marilyn Fabe.

The article reviews the book "Filmosophy," by Daniel Frampton.