Richard Rushton – författare

"...[A]uthoritative, always engaged, and grounded in the detailed study of well chosen films. This is an exceptionally useful introduction, and good to read."Professor James Donald, The University of New South Wales, Australia

This engaging and accessible book explores major debates in contemporary film theory, providing a detailed introduction to the central arguments advanced by film theorists since the 1960s.

What is Film Theory? outlines the discipline''s key theoretical concepts, perspectives, and traditions, and critically examines the assertions posited by exemplary film theorists and philosophers of film. A step-by-step approach to these issues guides the reader through the central topics of film theory.

Beginning with a discussion of structuralism and semiotics, and moving through debates on psychoanalysis, feminism, Screen theory, and cultural studies, the authors then examine the perspectives of ''post-theory'', cognitivism, and historical poetics, as well as recent developments such as audience research and the ''cinema of attractions''.

Analysis of the major theories is supported with detailed and wide-ranging case studies of particular films, including Singin'' in the Rain, The Searchers, Tout va bien, Jaws, Do the Right Thing, Brokeback Mountain, and Sweeney Todd: The Demon Barber of Fleet Street. These case studies are accompanied by a series of illustrative film and production stills.

What is Film Theory? is indispensable reading for all students of Film and Media Studies, as well as for general readers interested in the debates which have defined film theory.

In formulating a notion of filmic reality, The Reality of Film offers a novel way of understanding our relationship to cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create.The Reality of Film investigates filmic reality by way of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. In doing so, it provides comprehensive introductions to each of these thinkers, while also debunking many myths and misconceptions about them. Along the way, a notion of filmic reality is formed that radically reconfigures our understanding of cinema.This book is essential reading for film scholars, students and philosophers of film, while it will also appeal to graduate students and specialists in other fields.

By formulating a notion of 'filmic reality', The reality of film offers new ways of understanding our relationship with cinema. It argues that cinema does not merely refer to, reproduce or represent reality, but has the capacity to create its own kinds of realities.Filmic reality is explored through the work of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. Comprehensive introductions are provided to each of these thinkers, whilst many myths and misconceptions about them are effectively debunked. The notion of filmic reality that emerges from this discussion radically reconfigures our understanding of cinema.This book is essential reading for film scholars, students and philosophers of film, while it will also appeal to graduate students and specialists in other fields.

Film criticism has always been about more than aesthetics, and by staging an encounter between Deleuze’s cinema project and his schizoanalysis work with Félix Guattari this volume attempts to open Deleuze’s aesthetic and philosophical analysis of film into spaces that can address his cinema books as a project that is also political, historical, industrial, economic, or cartographic in nature. Cinema no longer exists solely inside the cinematic apparatus – cinema must become television, digital imagery, web broadcast, advertisement; it must become open to a field of moving images and visual culture at large, and this volume opens Deleuze’s thought accordingly, inviting a range of leading scholars to question what can be done with Deleuze’s cinematic analyses if we are made to think of them as a further study in schizoanalysis.Key Features*Tom Conley explores an intersection between Deleuze and Blanchot in order develop a cartographic theorisation of film and visual culture *Patricia Pisters asks what a cinematic conception of Deleuze’s third synthesis of time might look like and begins to explore what she will call the Neuroimage*Richard Rushton charts the appearance of a Deleuzian imaginary in the films of Jean Renoir*Hanjo Berressem studies actual/virtual montage in Psycho and The Birds and uncovers a schizoanalytic Hitchcock of pure optical and sound images.

This title offers a clear and concise overview of and introduction to Deleuze's theories of cinema. "Cinema After Deleuze" offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films and directors, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni and Alain Resnais. Richard Rushton also discusses contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-Wai in the light of Deleuze's theories and in doing so brings Deleuze's "Cinema" books right up to date. "Cinema After Deleuze" demonstrates why Deleuze is rightly considered today to be one of the great theorists of cinema. The book is essential reading for students in philosophy and film studies alike. "The Deleuze Encounters" series provides students in philosophy and related subjects with concise and accessible introductions to the application of Deleuze's work in key areas of study.Each book demonstrates how Deleuze's ideas and concepts can enhance present work in a particular field.

Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.

Theatricality and the Arts presents a series of investigations of the notion of 'theatricality'. Primarily, theatricality concerns that which pertains to theatre, but the term has always carried with it the potentially pejorative associations of exaggeration and fakery. The essays here question and contest such associations. The book is divided into four sections which together provide a comprehensive interrogation of theatricality. The four sections begin with multimedia, where theatricality is examined in relation to mixed modes of media (internet art, painting, performance and digital display). A second section takes a philosophical approach to questions of theatricality. A third section looks at art, broadly speaking, but also at the historical contexts of art, photography and other media (literature, film, music). A final section features reflections on theatre and cinema, often in conjunction. Considered as a whole, the collection contributes to debates on theatricality in various fields, while also enabling a cross-examination of approaches to the topic.

In the 1990s, hundreds of men and women from all over Britain recorded their memories of cinemagoing during the 1930s—a decade when ‘going to the pictures’ was everybody’s favourite spare time activity. From these carefully gathered and systematically recorded testimonies, ‘cinema memory’ emerges as a distinctive expression of cultural memory, a discovery that continues to inspire new studies of the remembered cinema experience.This collection presents current research on cinema memory across a range of historical and national contexts, including Australia, Britain, Italy, Japan and Turkey. It features reflections on how best to record and preserve cinemagoing memories and make them accessible, with a particular focus on issues around digital archiving and research websites.

Cinema After Deleuze offers a clear and lucid introduction to Deleuze''s writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze''s two landmark books on cinema and offers assessments of a range of films, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others. Contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-wai are also examined in the light of Deleuze''s theories, thus bringing Deleuze''s writings on cinema right up to date. Cinema After Deleuze demonstrates why Deleuze is rightly considered today to be one of the great philosophers of cinema. The book is essential reading for students in philosophy and film studies alike.

This is a clear and concise overview of and introduction to Deleuze's theories of cinema. "Cinema After Deleuze" offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films and directors, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni and Alain Resnais. Richard Rushton also discusses contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-Wai in the light of Deleuze's theories and in doing so brings Deleuze's Cinema books right up to date. "Cinema After Deleuze" demonstrates why Deleuze is rightly considered today to be one of the great theorists of cinema. The book is essential reading for students in philosophy and film studies alike. "The Deleuze Encounters" series provides students in philosophy and related subjects with concise and accessible introductions to the application of Deleuze's work in key areas of study.Each book demonstrates how Deleuze's ideas and concepts can enhance present work in a particular field.

Cinema After Deleuze offers a clear and lucid introduction to Deleuze's writings on cinema which will appeal both to undergraduates and specialists in film studies and philosophy. The book provides explanations of the many categories and classifications found in Deleuze's two landmark books on cinema and offers assessments of a range of films, including works by John Ford, Sergei Eisenstein, Alfred Hitchcock, Michelangelo Antonioni, Alain Resnais and others. Contemporary directors such as Steven Spielberg, Lars von Trier, Martin Scorsese and Wong Kar-wai are also examined in the light of Deleuze's theories, thus bringing Deleuze's writings on cinema right up to date. Cinema After Deleuze demonstrates why Deleuze is rightly considered today to be one of the great philosophers of cinema. The book is essential reading for students in philosophy and film studies alike.

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze's writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls's classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze's writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls's classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

Modern European cinema and love examines nine European directors whose films contain stories about romantic love and marriage. The directors are Jean Renoir, Ingmar Bergman, Alain Resnais, Michelangelo Antonioni, Agnès Varda, François Truffaut, Federico Fellini, Jean-Luc Godard and Éric Rohmer. The book approaches questions of love and marriage from a philosophical perspective, applying the ideas of authors such as Stanley Cavell, Leo Bersani, Luce Irigaray and Alain Badiou, while also tracing key concepts from Freudian psychoanalysis. Each of the filmmakers engages deeply with notions of modern love and marriage, often in positive ways, but also in ways that question the institutions of love, marriage and the ‘couple’.