For the first time this volume makes Jean-Pierre Meunier's insightful thoughts on the film experience available for an English-speaking readership. Introduced and commented by specialists in film studies and philosophy, Meunier's intricate phenomenological descriptions of the spectator's engagement with fiction films, documentaries and home movies can reach the wide audience they have deserved ever since their publication in French in 1969.

"This timely volume engages with one of the most important shifts in recent film studies: the turn away from text-based analysis towards the viewer. Historically, this marks a return to early interest in the effect of film on the audience by psychoanalysts and psychologists, which was overtaken by concern with the 'effects' of film, linked to calls for censorship and moral panics rather than to understanding the mental and behavioral world of the spectator. Early cinema history has revealed the diversity of film-viewing habits, while traditional 'box office' studies, which treated the audience initially as a homogeneous market, have been replaced by the study of individual consumers and their motivations. Latterly, there has been a marked turn towards more sophisticated economic and sociological analysis of attendance data. And as the film experience fragments across multiple formats, the perceptual and cognitive experience of the individual viewer (who is also an auditor) has become increasingly accessible. With contributions from Gregory Waller, John Sedgwick and Martin Barker, this work spans the spectrum of contemporary audience studies, revealing work being done on local, non-theatrical and live digital transmission audiences, and on the relative attraction of large-scale, domestic and mobile platforms."--Publisher's website.

The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.

With an interdisciplinary agenda, Film Phenomenologies investigates the emerging field of film phenomenology, linking the fundamental significance of early thinkers and related methods of phenomenological investigation to newer emphases and diverse voices, such as Gaston Bachelard, Karen Barad, Simone de Beauvoir, bell hooks, Iris Murdoch and Hermann Schmitz. Established scholars consider various themes, including colonial duration and the politics of refusal, feeling feminist time, the exchange of play, scalar theory and scattered bodies, spectatorship and the entanglement of montage, disability, dance and speculative embodiment, AI phenomenology and breath gestures, cinematic atmospheres, the precarious intimacy of the film screen, stardom and biopics, and Black lived experience. Divided into three parts, Film Phenomenologies offers a collective combination of phenomenological approaches, braiding classic and critical methods to explore aesthetic, embodied, ethical, and political perspectives. It is the first collection to provide a substantial engagement with diverse and inclusive directions in the field of film and media studies.

This book focuses on two areas of interest: the poetics of color in film and the affective responses of viewers. Each essay is built around the analysis of a particular film or group of related films, which are then used to explore a range of issues including the difference between black-and-white and color, the emergence of bold color schemes in the 1950s, and empathetic viewer reactions to fictional characters, documentary subjects, animals, and architecture in film.

In this innovative book, Julian Hanich explores the subjectively lived experience of watching films together, to discover a fuller understanding of cinema as an art form and a social institution that matters to millions of people worldwide.

A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.