Skip to main navigation menu Skip to main content Skip to site footer
Logo Thémata

RESEARCH PAPERS

No. 57

The debate on “medium specificity” in the beginnings of film theory: the chronicle of a cultural battle

DOI
https://doi.org/10.12795/themata.2018.i57.08
Submitted
May 22, 2017
Published
2018-06-25

Abstract

: In this paper we will present the story of one issue that dominated film theory during the silent-film paradigm; one that continues in force even today, that is: the controversy of cinema as an art, based on the “medium specificity” thesis. The exposition of this framework will also serve us, in turn, to present several central notions of film theory, wich were constructed throughout this debate, as well as to point out its main authors and the implications of all kinds –aesthetic, epistemological and cultural– , involved in this topic. By means of this exposition, we aspire to detail a perspective capable of broadening our understanding of the history of cinema, summarizing the fundamental keys that constituted both our attitude as spectators and the relation we currently have with film productions.

References

  1. Andrew, D.: Las principales teorías cinematográficas. Madrid: Ed. Rialp
  2. Arnheim, R.: Art and Visual Perception: a Psychology of the Creative Eye. Berkeley & Los Angeles: University of California Press, 1974
  3. Arnheim, R.: Film as Art. Berkeley & Los Angeles: University of California Press, 1957
  4. Arnheim, R.: Visual Thinking. Berkeley & Lond Angeles: University of California Press, 1969
  5. Astruc, A.: “El nacimiento de una nueva vanguardia: la 'Caméra-Stylo'” en Alsina, H. & Romaguera i Ramió, J. (eds.): Fuentes y documentos del cine: la estética, las escuelas y los movimientos. Barcelona: Ed. Gustavo Gili, 1998, pp. 207-211
  6. Aumont, J. et al.: Estética del cine. Barcelona: Ed. Paidós, 1996
  7. Bazin, A.: “De la política de los autores” en de Baecque, A. (ed.): La política de los autores: manifiestos de una generación de cinéfilos. Barcelona: Ed. Paidós, 2003, pp. 91-106
  8. Burch, N.: Praxis del cine. Madrid: Ed. Fundamenetos, 2008
  9. Carroll, N.: “Film/Mind Analogies: the Case of Hugo Munsterberg” en The Journal of Aesthetics and Art Criticism 46:4, 1988, pp. 489-499
  10. Carroll, N.: Philosophical Problems of Classical Film Theory. New Jersey: Princeton University Press, 1988
  11. Carroll, N.: The Philosophy of Motion Picturoes. Oxford: Blackwell Publishing, 2008
  12. Canudo, R.: “Manifiesto de las siete artes” en Alsina, H. & Romaguera i Ramió (eds.): Textos y manifiestos del cine. Madrid: Ed. Cátedra, 1989, pp. 13-16
  13. Gubern, R.: Historia del cine. Barcelona: Ed. Anagrama, 2014
  14. Marcel, M.: El lenguaje del cine. Barcelona: Ed. Gedisa, 2002
  15. Pudovkin, V.: Lecciones de cinematografía. Madrid: Ed. Rialp, 1957
  16. Sánchez Biosca, V.: Sombras de Weimar: contribución a la historia del cine alemán 1918-1933. Madrid: Ed. Verdoux, 1990
  17. Sánchez Noriega, J. L.: Historia del cine: teoría y géneros cinematográficos, fotografía y televisión. Madrid: Ed. Alianza, 2002
  18. Stam, R.: Teorías del cine. Barcelona: Ed. Paidós, 2012
  19. Truffaut, F.: “Una cierta tendencia del cine francés” en Alsina, H. & Romaguera i Ramió, J. (eds.): Fuentes y documentos del cine: la estética, las escuelas y los movimientos. Barcelona: Ed. Gustavo Gili, 1998, pp. 214-232

Downloads

Download data is not yet available.