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Extra resources for A Companion to Film Theory (Blackwell Companions in Cultural Studies)
Alloway also rejects the notion that film iconology amounts to a kind of myth analysis, since he emphasizes the constant change and ephemerality of visual patterns in popular art (54). His application of iconology to film genres is thus more descriptive than interpretive. But Panofsky’s own method presupposed that symbolic vocabularies reflected the essential concerns of a particular culture and period, which could be conceived as an organic essence manifesting itself consistently in all forms of expression.
1978. May ’68 and Film Culture. London: British Film Institute. Hillier, Jim. 1986. Cahiers du Cinima: The 1950s. Cambridge: Harvard University Press. Huyssen, Andreas. 1986. A f e r the Great Divide. Bloomington: Indiana University Press. Kapsis, Robert E. 1992. Hitchcock: The Making of a Reputation. Chicago: University of Chicago Press. Lehmann, Courtney. 1997. ” Post Script 17, 1 (fall): 6-27. Naremore, James. 1990. ” Film Quarterly 44, 1 (fall): 14-23. Silverman, Kaja. 1988. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema.
Meanwhile, the vast area of post-1970s cinema and made-for-TV movies is largely uncharted territory, containing undiscovered auteurs. Perhaps the old French strategy of announcing ten-best lists of directors and films (which survives today in lists of box-office receipts, kitsch, “guilty pleasures,” and the appallingly bad “100 best films” chosen by the American Film Institute) ought to be revived, with the understanding that canons are not monuments graven in stone only provisional tables of value or expressions of enthusiasm, meant to tell others about ourselves and to stimulate debate.