Relevant bibliographies by topics / Early Film Theorists

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Academic literature on the topic 'Early Film Theorists'

Author: Grafiati
Published: 7 June 2025
Last updated: 2 August 2025

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Journal articles on the topic "Early Film Theorists"

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Kozhokaru, T. I. "Analytical Schemes of Early Film Studies." Koinon 4, no. 3 (2024): 39–56. http://dx.doi.org/10.15826/koinon.2024.04.3.013.

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The article is devoted to the description of some concepts of the nature of cinema and identification of algorithms for analyzing films presented in early cinema studies. The paper provides an overview of the formation of film theory and, for the first time in Russian, outlines the ideas about cinema of such thinkers as Maffio Maffii, Giovanni Fossi, Crainquebille, Gaio, Gustav Melcher, Kurt Weisse, Hermann Kienzl, and Albert Hellwig. The article also formulates the ideas of Vachel Lindsay and Hugo Münsterberg, the first film theorists who laid the foundations for two branches of cinema studie
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Simindeikin, A. S. "‘‘Faces of Death” in Andy Warhol’s early films." Vestnik VGIK 16, no. 1(59) (2024): 134–44. http://dx.doi.org/10.69975/2074-0832-2024-59-1-134-144.

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The article is devoted to the theme of death and its non-obvious manifestations in Andy Warhol’s early cinema. The analyzed material is based on two of the director’s important films — “Blowjob” and “Sleep”. The work attempts to analyze Warhol’s cinematic experiments from the perspective of using the close-ups, the philosophy of which was developed by the leading film theorists of the 20th century. Parallels are also drawn between the pictorial tradition of depicting death and Warhol’s figurative system.
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Researcher. "ORIGINS OF FILM THOUGHT IN THE FIRST WAVE OF FILM THEORY." International Journal of Film Research and Development (IJFRD) 5, no. 1 (2024): 1–7. https://doi.org/10.5281/zenodo.15576030.

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The first wave of film theory, emerging in the early 20th century, laid the foundational frameworks for understanding cinema as an art form distinct from other visual and narrative traditions. Thinkers and critics of the time grappled with the essence of this new medium, debating whether its power lay in visual realism, emotional affect, or rhythmic editing. This paper revisits the seminal contributions of early theorists—such as Hugo Münsterberg, Rudolf Arnheim, and Sergei Eisenstein—examining their relevance and influence on contemporary film studies. By analyzing the evolut
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Ahmed, Nabaz Samad. "Film as Philosophy." Journal of University of Raparin 9, no. 3 (2022): 396–408. http://dx.doi.org/10.26750/vol(9).no(3).paper17.

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Although the relationship between film and philosophy begins in the early twentieth century with Hugo Munsterberg’s book ''The Photoplay: A Psychological Study'', only in the late twentieth century and early twenty-first century the relationship take into account seriously among both philosophers and film theorists. As a result, an intense philosophical debate has arisen about what is film-philosophy? What is the relationship between film and philosophy? Are films genuinely capable of doing philosophy? Or does film capable of being a philosophical work (text)? Although almost all participants
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Longo, Regina. "An Interview with Editors Anton Kaes, Nicholas Baer, and Michael Cowan on The Promise of Cinema: German Film Theory, 1907–1933." Film Quarterly 69, no. 3 (2016): 96–101. http://dx.doi.org/10.1525/fq.2016.69.3.96.

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FQ's “Page Views” feature reviews a new seminal anthology of German film theory that presents important texts by early film theorists that have never before been published in English. Editors Kaes, Baer, and Cowan are interviewed about the process of curating this anthology and about their ongoing work to highlight the importance of early and classical film theory for the new media age. A free chapter of the book is available for download at filmquarterly.org.
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Evans, Barbara. "Rising Up." Feminist Media Histories 2, no. 2 (2016): 107–21. http://dx.doi.org/10.1525/fmh.2016.2.2.107.

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The London Women's Film Group was formed in 1972 in response to the seemingly impermeable male-dominated film industry and culture of the time along with the urgently felt need to put women's stories, told by women, on the screen. Made up of a dedicated assortedment of practitioners and theorists, the group produced a variety of films, both individually and collectively, including Women of the Rhondda (1973), Put Yourself in My Place (1974), The Amazing Equal Pay Show (1974), and Whose Choice? (1976). The group and its work provided inspiration to one another and to many other women who percei
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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film
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Smyth, J. E. "Against the Beat." Film Quarterly 67, no. 1 (2013): 7–13. http://dx.doi.org/10.1525/fq.2013.67.1.7.

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The opening sequence of Ragtime (1981) takes place in a theater during the silent film era where the protagonist, Coalhouse Walker Jr. (Howard Rollins, Jr.), accompanies a newsreel featuring the stars of American public life in the early decades of the twentieth century. While postmodern theorists and film historians have linked the content and form of textual and visual fictions with their historical counterparts, less attention has been given to musical and aural styles as historiographic interventions. And while new research in historical film studies has revealed the flirtations of mainstr
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Rochester, Katherine. "Visual Music and Kinetic Ornaments." Feminist Media Histories 7, no. 1 (2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.

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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distan
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Barr, Charles. "Rethinking Film History: Bazin's Impact in England." Paragraph 36, no. 1 (2013): 133–52. http://dx.doi.org/10.3366/para.2013.0082.

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A new orthodoxy suggests that André Bazin's work had little influence in anglophone countries until decades after his death. This article cites a wide range of evidence, mainly from British publications, in order to challenge this view. Starting with the critics who were associated with the ground-breaking magazine Movie in the early 1960s, it notes also Bazin's early impact in America via the magazine Film Quarterly and the high-profile critic Andrew Sarris. Moreover, Peter Wollen and Laura Mulvey, two of the most prominent British theorists commonly associated with an anti-Bazinian ‘Screen T
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Books on the topic "Early Film Theorists"

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Pollmann, Inga. Cinematic Vitalism. Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462983656.

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This book argues that there are constitutive links between early twentieth-century German and French film theory and practice, on the one hand, and vitalist conceptions of life in biology and philosophy, on the other. By considering classical film-theoretical texts and their filmic objects in the light of vitalist ideas percolating in scientific and philosophical texts of the time, Cinematic Vitalism reveals the formation of a modernist, experimental and cinematic strand of vitalism in and around the movie theater. The book focuses on the key concepts including rhythm, environment, mood, and d
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Chandra, Saurabh, ed. SOCRATES (Vol 3, No 2 (2015): Issue- June). 3rd ed. SOCRATES : SCHOLARLY RESEARCH JOURNAL, 2015.

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Buhler, James. Early Theories of the Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0002.

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Chapter 2 examines several major theories that emerged during the transition to sound film, when even the definition of the sound film was contested. The theories of sound film that arose during the transitional decade from 1926 to 1935 focused on the closely related forms of recorded theater and silent film and worked to articulate how sound film differed from them. They also gave considerable attention to asynchronous sound in part because it was a figure specific to sound film (or in any event more difficult to produce in other art forms) and in part because asynchronous sound had affinitie
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Casetti, Francesco, Silvio Alovisio, and Luca Mazzei, eds. Early Film Theories in Italy, 1896-1922. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048527106.

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Peucker, Brigitte, and Ido Lewit. New Approaches to Ernst Lubitsch. Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463729895.

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This exciting collection of unpublished essays on Ernst Lubitsch addresses multiple gaps in scholarly and critical engagement with the director. His understudied early German films shed light on Jewish culture, on the relation of comedy to gender and the influence of theatre on his filmmaking. The popular historical epics brought Lubitsch an invitation to Hollywood in 1922. There, Lubitsch helped develop the film musical and notably contributed to the genre of Hollywood romantic comedy. The well-known scholars—film historians, archivists, and theorists—whose essays appear in this volume expand
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Cauchi, Mark, ed. Cinema and Secularism. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781501388835.

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Cinema and Secularism is the first collection to make the relationship between cinema and secularism thematic, utilizing a number of different methodological approaches to examine their identification and differentiation across film theory, film aesthetics, film history, and throughout global cinema. The emergence of moving images and the history of cinema historically coincide with the emergence of secularism as a concept and discourse. More than historically coinciding, however, cinema and secularism would seem to have—and many contemporary theorists and critics seem to assume—a more intrins
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Buhler, James. Theories of the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.001.0001.

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This book is concerned with summarizing and critiquing theories of the soundtrack from roughly 1929 until today. A theory of the soundtrack is concerned with what belongs to it, how it is effectively organized, how its status in a multimedia object affects the nature of the object, the tools available for its analysis, and the interpretive regime that the theory mandates for determining the meaning, sense, and structure that sound and music bring to film and other audiovisual media. Beyond that, a theory may also delineate the range of possible uses of sound (and music), classify the types of
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Shakespeare, William. The Chronicle History of Henry the Fift: With His Battell Fought at Agin Court in France, Togither with Auntient Pistoll (Modern Cultural Theorists). Harvester/Wheatsheaf, 1993.

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Ingravalle, Grazia. Archival Film Curatorship. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463725675.

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Archival Film Curatorship is the first book-length study that investigates film archives at the intersection of institutional histories, early and silent film historiography, and archival curatorship. It examines three institutions at the forefront of experimentation with film exhibition and curatorship. The Eye Film Museum in Amsterdam, the George Eastman Museum in Rochester, NY, and the National Fairground and Circus Archive in Sheffield, UK serve as exemplary sites of historical mediation between early and silent cinema and the digital age. A range of elements, from preservation protocols t
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Hedberg Olenina, Ana. Psychomotor Aesthetics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.001.0001.

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In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book unco
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Book chapters on the topic "Early Film Theorists"

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Brandau, Nina. "Chapter 5. Theatre as an engine for German-Swedish cultural transfer in the early twentieth century." In FILLM Studies in Languages and Literatures. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/fillm.20.05bra.

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It was not only literary exchange and travel writing that flourished between Germany and Scandinavia around 1900. The theatre sector was also influenced by increasing artistic mobility that facilitated the transfer of ideas on modern theatre across Europe. This chapter examines selected guest performances and directorships of the German theatre director Max Reinhardt and the actor Alexander Moissi in Stockholm between 1915 and 1921. Expanding the traditional idea of travel writing, the artists used guest performances as a means of allowing ideas to travel to a new national context. Using cultu
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Yaping, Apple Xu. "The Moving-image Redemption of Orality and Lukács’s Early Writing on the Cinema." In The Major Realist Film Theorists. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402217.003.0009.

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This paper analyzes the early film writing of Georg Lukács, particularly ‘Thoughts Towards an Aesthetic of the Cinema’ (‘Gedanken zu einer Ästhetic des Kino’, 1913), from the perspective of the oral mode of communication and expression, or, orality. It considers that the essence of the orality lies with the embodied engagement of human beings, basing on Walter J. Ong’s ideas of the orality-literacy hypothesis. With such understanding, it argues that the moving image can be the technological redemption of the orality, and suggests that the visual revival of the orality depends on but beyond the
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Yaping, Apple Xu. "Chapter 8 The Moving-image Redemption of Orality and Lukács’s Early Writing on the Cinema." In The Major Realist Film Theorists. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474402224-009.

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Fotiade, Ramona. "‘Montage, My Fine Care’: Realism, Surrealism and Postmodernism after Bazin." In The Major Realist Film Theorists. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402217.003.0005.

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The title of this chapter takes its cue from one of Jean-Luc Godard’s well-known articles, published in Cahiers du cinéma in 1956, which engaged with Bazin’s conception of cinematic realism in an attempt to effect a generational break with the past by proposing a revised understanding of montage, not simply as an integral part of mise-en-scène, but as a form of deliberate authorial statement and, in that sense, as a practical extension of the New Wave ideology or politique des auteurs. In highlighting Bazin’s formative influence on the New Wave directors (in particular, his relationship to Tru
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Aitken, Ian. "The ‘Naturalist’ Treatment of Film in The Specificity of the Aesthetic (Georg Lukács, 1963) and One Day in the Life of Ivan Denisovich (Alexander Solzhenitsyn, 1962; Caspar Wrede, 1970)." In The Major Realist Film Theorists. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402217.003.0010.

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The distinction between progressive ‘narration’ and reactionary ‘description’, that is, between realism and naturalism, is one that Georg Lukács often made in his critical writings on literature, and is encapsulated in his 1936 essay ‘Narrate or Describe?’. This distinction, appearing in such an uncompromising essay, has also provided critics with reason to dismiss Lukács’ position on naturalism, and also on modernism, given that Lukács argued elsewhere that twentieth-century modernism was a regressive outcome of the alienating tendencies found within nineteenth-century naturalism. However, th
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Loew, Katharina. "Imagining Technological Art: Early German Film Theory." In Special Effects and German Silent Film. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_ch01.

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As a form of popular mass entertainment and an apparatus for the automatic reproduction of material reality, cinema’s artistic aspirations seemed futile. Some early commentators nonetheless asserted that the new medium could be a legitimate object of aesthetic scrutiny. In an attempt to fathom cinema’s immaterial values, early film theorists including Herbert Tannenbaum and Georg Lukács explored cinema’s kinship with folk art, mental processes and the fantastic. They argued that film technology, specifically special effects, could articulate ideas in a sensual form and thus provide a pathway t
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Burnetts, Charles. "Sentimental Aesthetics and Classical Film Theory." In Improving Passions. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748698196.003.0003.

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Explores how classical film theorists of the early-to-mid 20<sup>th</sup> century were able conceive of cinema as a sentimental medium alongside the sociocultural and intellectual backdrop of modernity and modernism respectively. Theory is selected from formalist and realist traditions, both familiar and less well-known texts, using a critical lens attuned to the representation of individual virtue, the face, the sympathetic ‘auteur’, and cinematic pedagogy. Key work by such theorists as Sergei Eisenstein, the writers of 'Close-Up' magazine, André Bazin and Béla Balázs, are examined in terms o
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Katz, John Stuart, and Judith Milstein Katz. "Ethics and the Perception of Ethics in Autobiographical Film." In Image Ethics. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195067804.003.0006.

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Abstract Since the early days of documentary, the ‘objectivity’ of the camera as a recording instrument has come into question with the widening recognition that the camera records differentially. This parallels a growing awareness in the social sciences that perception and interaction are themselves constructive (Berger and Luckman, 1967; Blumer, 1969; Bruner, 1957; Kelly, 1955). As these theorists tell us, we do not perceive an objective reality. Rather, we focus selectively on the virtually infinite aspects of our environment, interpret and evaluate what it is we see, and respond to our the
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Marcus, Laura. "Introduction." In The Tenth Muse. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199230273.003.0001.

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Abstract The Tenth Muse explores writings on the cinema in the first decades of the twentieth century, examining the impact of cinema on early twentieth-century literary and, more broadly, aesthetic and cultural consciousness, and bringing together the terms and strategies of early writing about film with cinema ‘s interactions with literature in the same period. One of the book’s primary concerns is to open up the ways in which early writers about film–reviewers, critics, theorists–developed aesthetic and cultural categories to define and accommodate what was called ‘the seventh art’ or ‗the
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Hedberg Olenina, Ana. "Kinesthetic Empathy in Sergei Eisenstein’s Film Theory." In Psychomotor Aesthetics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.003.0005.

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Chapter 4 explores Sergei Eisenstein’s theory of the audience’s corporeal empathy, evoked by actors’ movements and graphical, nonhuman “gestures”—that is, “movements” implied by the structure of the shot composition, editing, and other formal devices. In scrutinizing Eisenstein’s theory that spectatorship is, fundamentally, an enactive experience, this chapter traces the roots of his ideas and evaluates the aesthetic and political implications of his position. First, I analyze the filmmaker’s engagement with psychological theories of William James, William Carpenter, Vladimir Bekhterev, Alexan
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Conference papers on the topic "Early Film Theorists"

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Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.

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Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feat
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Bai, Juanjuan. "Film poetry: the theoretical institution and development in the early film theories." In 2015 International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.29.

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Jovanović, Lana S. "THE AGE FACTOR IN LANGUAGE DEVELOPMENT THEORIES AND ITS IMPLICATIONS FOR ACQUISITION AND TEACHING." In XVI Naučni skup mladih filologa Srbije. University of Kragujevac, Faculty of Philology and Art, Serbia, 2025. https://doi.org/10.46793/mfxvi-1.183j.

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This research investigates the progression of grammatical complexity in English language textbooks designed for various age groups, ranging from young children to adults. By analyzing four textbooks—Smiles (ages 6-7), Wider World 1 (ages 11-12), Solutions (ages 14-15), and English File (ages 18+)—the study explores how linguistic theories, particularly the Innate Hypothesis and the Critical Period Hypothesis, are implemented in practical language teaching. A comparative method was used to evaluate the curricula of these textbooks, focusing on morphology, syntax, and phonology. The findings rev
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Silva, Thiago J., and Edson OliveiraJr. "An Ontology for Supporting Digital Forensics Controlled Experiments: Early Stages of Development." In Brazilian e-Science Workshop. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/bresci.2022.222813.

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The experimentation process is one of the main means of science to evaluate theories based on hypothesis. Science evolves most taking into account the performing of controlled experiments, thus providing trust evidence for different research fields. However, for the Digital Forensics (DF) field, formal controlled experimentation has been neglected over the years. In a recent systematic mapping of the literature, we found more than 200 experiments with few formalization of their procedures, thus jeopardizing its evidence reliability and the capacity of reproducibility. Therefore, this paper pro
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Lyu, Xidi, Kexi Liao, Zihan Zou, Guoxi He, and Shitao Liu. "Effects of Flow Velocity on Biofilm formation and corrosion behavior of L245 steel in the presence of sulfate reducing bacteria." In International Petroleum Technology Conference. IPTC, 2024. http://dx.doi.org/10.2523/iptc-24640-ms.

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Shale gas is a type of unconventional natural gas that is found primarily within reservoir rock sequences dominated by organic-rich shale, and is usually exploited by hydraulic fracturing technology, which typically requires a large amount of water to be injected into the gas well, and when the fracturing process is completed, a portion of the injected water immediately flows back. The fracturing flow-back fluid contains a large number of microorganisms when it enters the surface gathering and transportation system, resulting severe internal corrosion of the pipelines, especially those built d
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Reports on the topic "Early Film Theorists"

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You, Saokeo Khantey, Alvin Leung, Leavsovath In, and Sopheak Song. A Quantitative Study on Entrepreneurial Intention of University Students in Cambodia. Cambodia Development Resource Institute, 2023. https://doi.org/10.64202/wp.136.202301.

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Entrepreneurship is crucial to advancing the economy of Cambodia and fostering the development of society. The Royal Government of Cambodia has recognised the importance of entrepreneurship and included the promotion and entrepreneurship education in multiple policies and strategy. Universities and higher education institutes have been more active in providing entrepreneurship education (EE) as well as services and facilities to support startups in recent years. However, to date, there is very limited research on how young people in Cambodia perceive and prepare for entrepreneurial careers. Th
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