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  1.  95
    Puzzle films: complex storytelling in contemporary cinema.Warren Buckland (ed.) - 2009 - Malden, MA: Wiley-Blackwell.
    Drawing upon the expertise of film scholars from around the world, Puzzle Films investigates a number of films that sport complex storytelling--from Memento, ...
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  2. Introduction: Puzzle plots.Warren Buckland - 2009 - In Puzzle films: complex storytelling in contemporary cinema. Malden, MA: Wiley-Blackwell. pp. 1--12.
     
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  3.  4
    The Routledge encyclopedia of film theory.Edward Branigan & Warren Buckland (eds.) - 2014 - New York: Routledge, Taylor & Francis Group.
    The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first. When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. The Routledge Encyclopedia of Film Theory challenges these first impressions by aiming to make film theory accessible and (...)
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  4.  6
    A new cultural history of film.Warren Buckland - 2003 - Semiotica 2003 (145).
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  5.  15
    Black Cats, Dark Rooms, and Paper Tigers: A Reply to Petric and Grodal.Warren Buckland - 2001 - Film-Philosophy 5 (1).
    Mirko Petric 'Both Semiotics and Cognitivism?' _Film-Philosophy_, vol. 5 no. 11, April 2001 Torben Grodal 'Old Wine in Old Bottles' _Film-Philosophy_, vol. 5 no. 12, April 2001.
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  6. Cognitive semiotics revisited: reframing the frame.Warren Buckland - 2015 - In Maarten Coëgnarts & Peter Kravanja (eds.), Embodied cognition and cinema. Leuven: Leuven University Press.
     
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  7.  16
    Film as specific signifying practice: A rational reconstruction of Stephen Heath's “On screen, in frame: Film and ideology”.Warren Buckland - 2011 - Semiotica 2011 (187):49-81.
    This essay presents a commentary on and rational reconstruction of Stephen Heath's influential and groundbreaking essay from 1976: “On screen, in frame: Film and ideology.” As a commentary, it attempts to make explicit the implicit assumptions behind Heath's dense and challenging essay; rewrite and clarify his inexact formulations; and develop a microanalysis of the essay's language. As a rational reconstruction, this essay follows Rudolf Botha's philosophical study into the conduct of inquiry to analyze Heath's formulation of conceptual and empirical problems (...)
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  8. Film theory and contemporary Hollywood movies.Warren Buckland (ed.) - 2009 - New York: Routledge.
    This volume offers a representative sampling of current research generated by both young and established film scholars from the different schools of thought ...
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  9.  7
    Film theory: rational reconstructions.Warren Buckland - 2012 - New York, NY: Routledge.
    Introduction -- An improbable alliance : Peter Wollen's "The auteur theory" -- Visual stylometry : Barry Salt's "Statistical style analysis of motion pictures" -- Between Shakespeare and Sirk : Thomas Elsaesser's "Tales of sound and fury: observations on the family melodrama" -- From iconicity to semiotic articulation : Christian Metz's "cinema: language or language system?" and language and cinema -- Film as a specific signifying practice : Stephen Heath's "On screen, in frame: film and ideology" -- Against theories of reflection (...)
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  10.  6
    Hollywood puzzle films.Warren Buckland (ed.) - 2014 - New York: Routledge.
    From Inception to The Lake House, moviegoers are increasingly flocking to narratologically complex puzzle films. These puzzle movies borrow techniques--like fragmented spatio-temporal reality, time loops, unstable characters with split identities or unreliable narrators--more commonly attributed to art cinema and independent films. The essays in Hollywood Puzzle Films examine the appropriation of puzzle film techniques by contemporary Hollywood dramas and blockbusters through questions of narrative, time, and altered realities. Analyzing movies like Source Code, The Butterfly Effect, Donnie Darko, Déjà Vu, and (...)
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  11. Introduction: ambiguity, ontological pluralism, and cognitive dissonance in the Hollywood puzzle film.Warren Buckland - 2014 - In Hollywood puzzle films. New York: Routledge.
     
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  12.  18
    Michel Colin and the psychological reality of film semiology.Warren Buckland - 1995 - Semiotica 107 (1-2):51-80.
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  13.  39
    Making sense of Lost Highway.Warren Buckland - 2009 - In Puzzle films: complex storytelling in contemporary cinema. Malden, MA: Wiley-Blackwell. pp. 42.
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  14.  9
    Narrative and narration: analyzing cinematic storytelling.Warren Buckland - 2020 - New York: Wallflower.
    From mainstream blockbusters to art house cinema, narrative and narration are the driving forces that organize a film. Yet attempts to explain these forces are often mired in notoriously complex terminology and dense theory. Warren Buckland provides a clear and accessible introduction that explains how narrative and narration work using straightforward language. Narrative and Narration distills the basic components of cinematic storytelling into a set of core concepts: narrative structure, processes of narration, and narrative agents. The book opens with a (...)
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  15.  35
    Problem Formation in the Analytic Philosophy of Film.Warren Buckland - 2001 - Film-Philosophy 5 (1).
    _Film Theory and Philosophy_ Edited by Richard Allen and Murray Smith Oxford: Clarendon Press, 1997; pbk 1999 ISBN 0-19-815921-8 (hbk); 0-19-815988-9 (pbk) 474 pp.
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  16. Source code's video game logic.Warren Buckland - 2014 - In Hollywood puzzle films. New York: Routledge.
     
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  17.  14
    The last word on filmic enunciation?Warren Buckland - 2001 - Semiotica 2001 (135).
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  18.  9
    The Making of an Avant-Garde: Tel Quel, by Niilo Kauppi, trans. Anne R. Epstein.Warren Buckland - 1996 - Journal of the British Society for Phenomenology 27 (3):326-328.
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  19.  30
    The Practice of Filmic Interpretation: On Noel Carroll, Interpreting the Moving Image.Warren Buckland - 1998 - Film-Philosophy 2 (1).
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  20.  7
    The Time of Theory: A History of Tel Quel , by Patrick ffrench.Warren Buckland - 1998 - Journal of the British Society for Phenomenology 29 (3):334-335.
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  21.  13
    Visual rhetoric in Michel Gondry’s music videos: Antithesis and similarity in Deadweight.Warren Buckland - 2015 - Empedocles: European Journal for the Philosophy of Communication 5 (1):49-57.
    This article analyses the visual rhetoric of Michel Gondry’s Deadweight (1997), a music video for Beck Hansen’s song of the same name, and also considers the song’s relation to Danny Boyle’s film A Life Less Ordinary (1997). Two key structures are identified in the video: antithesis and similarity – which Gondry employs to visually illustrate the title of both Beck’s song and Boyle’s film.
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