From The Art and Popular Culture Encyclopedia

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-	"With the arrival of [[cinema]], French philosopher [[Henri Bergson]] felt the need for new ways of thinking on movement and coined the terms "image-temps" and "image-mouvement" in ''[[Matière et Mémoire]]'' (1896). [[Gilles Deleuze]], another French philosopher, took ''Matière et Mémoire'' as the basis of this theory on and used it to explain his views in his ''[[Cinéma I]]'' & ''[[Cinéma II|II]]'' (1983-1985)." --Sholem Stein	+
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-	"The directors concerned are [[Jean Renoir]], [[Robert Bresson]], [[Jean Cocteau]], [[Jacques Becker]], [[Abel Gance]], [[Max Ophuls]], [[Jacques Tati]], [[Roger Leenhardt]]; [...] it appears that these auteurs also write the dialogue to their films and invent the story lines of the films they direct (mettent en scène)." --"[[Une certaine tendance du cinéma français]]" (1954) by François Truffaut	+
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-	''[[La Strada]]'' (1954), ''[[8 1/2]]'' (1963), ''[[Wild Strawberries]]'' (1957), ''[[The Seventh Seal]]'' (1957), ''[[Persona (1966 film)|Persona]]'' (1966), ''[[Ashes and Diamonds (film)|Ashes and Diamonds]]'' (1958), ''[[Jules et Jim]]'' (1962), ''[[Knife in the Water]]'' (1962), ''[[Vivre sa vie]]'' (1962), ''[[Muriel (film)|Muriel]]'' (1963): Whatever else one can say about these films, cultural fiat gives them a role altogether different from ''[[Rio Bravo (film) |Rio Bravo]]'' (1959) on the one hand and ''[[Mothlight]]'' (1963) on the other. They are "art films," and, ignoring the tang of snobbishness about the phrase, we can say that these and many other films constitute a distinct branch of the cinematic institution."--"[[The Art Cinema as a Mode of Film Practice]]" (1979) by David Bordwell	+
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-	[[Image:Arrival of a Train at La Ciotat, 1895.jpg|thumb|right|200px|	+
-	This page '''''{{PAGENAME}}''''' is part of the [[film]] series.<br>Illustration: screen shot from ''[[L'arrivée d'un train en gare de La Ciotat]]'']]{{Template}}	+
-	'''Film theory''' debates the essence of the [[film|cinema]] and provides conceptual frameworks for understanding film's relationship to [[reality]], the other [[art]]s, individual viewers, and [[society]] at large. Film theory is generally distinguished from [[film criticism]], which concentrates on evaluating individual films.	+
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-	==History==	+
-	In some respects, French philosopher [[Henri Bergson]]'s ''[[Matter and Memory]]'' anticipated the development of film theory at a time that the cinema was just being born as a new medium—the early 1900s. He commented on the need for new ways of thinking about movement, and coined the terms "the movement-image" and "the time-image". However, in his 1906 essay ''L'illusion cinématographique'' (in ''L'évolution créatrice''), he rejects film as an exemplification of what he had in mind. Nonetheless, decades later, in ''[[Cinema 1|Cinéma I]] and Cinema II'' (1983-1985), the philosopher [[Gilles Deleuze]] took ''Matter and Memory'' as the basis of his philosophy of film and revisited Bergson's concepts, combining them with the [[semiotics]] of [[Charles Sanders Peirce]].	+
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-	Early film theory arose in the [[silent era]] and was mostly concerned with defining the crucial elements of the medium. It largely evolved from the works of directors like [[Germaine Dulac]], [[Louis Delluc]], [[Jean Epstein]], [[Sergei Eisenstein]], [[Lev Kuleshov]], and [[Dziga Vertov]] and film theorists like [[Rudolf Arnheim]], [[Béla Balázs]] and [[Siegfried Kracauer]].	+
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-	These individuals emphasized how film differed from reality and how it might be considered a valid art form.	+
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-	In the years after [[World War II]], the French film critic and theorist [[André Bazin]] reacted against this approach to the cinema, arguing that film's essence lay in its ability to mechanically reproduce reality, not in its difference from reality.	+
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-	In the 1960s and 1970s, film theory took up residence in academe, importing concepts from established disciplines like [[psychoanalysis]], [[gender studies]], [[anthropology]], [[literary theory]], [[semiotics]] and [[linguistics]].	+
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-	During the 1990s the digital revolution in image technologies has had an impact on film theory in various ways. There has been a refocus onto celluloid film's ability to capture an indexical image of a moment in time by theorists like [[Mary Ann Doane]], Philip Rosen and [[Laura Mulvey]] who was informed by [[psychoanalysis]]. From a psychoanalytical perspective, after the [[Lacan]]ian notion of the Real, [[Slavoj Žižek]] offered new aspects of the [[gaze]] extensively used in contemporary film analysis. There has also been a historical revisiting of early cinema screenings, practices and spectatorship modes by writers [[Tom Gunning (writer)|Tom Gunning]], Miriam Hansen and Yuri Tsivian.	+
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-	==Specific theories of film==	+
-	*[[Apparatus theory]]	+
-	*[[Auteur theory]]	+
-	*[[Feminist film theory]]	+
-	*[[Formalist film theory]]	+
-	*[[Marxist film theory]]	+
-	*[[Philosophy of language film analysis]]	+
-	*[[Psychoanalytical film theory]]	+
-	*[[Screen theory]]	+
-	*[[Structuralist film theory]]	+
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-	== List of film theorists ==	+
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-	* [[Rudolf Arnheim]]	+
-	* [[Béla Balázs]]	+
-	* [[André Bazin]]	+
-	* [[Walter Benjamin]]	+
-	* [[David Bordwell]]	+
-	* [[Ricciotto Canudo]]	+
-	* [[Gilles Deleuze]]	+
-	* [[Louis Delluc]]	+
-	* [[Sergei Eisenstein]]	+
-	* [[Alexander Kluge]]	+
-	* [[Siegfried Kracauer]]	+
-	* [[Teresa de Lauretis]]	+
-	* [[Christian Metz]]	+
-	* [[Laura Mulvey]]	+
-	* [[Hugo Münsterberg]]	+
-	* [[Vivian Sobchack]]	+
-	* [[Slavoj Žižek]]	+
-	* [[Georg Lukacs]]	+
-	* [[Vsevolod Pudovkin]]	+
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-	==Specific theories of film==	+
-	*[[Apparatus theory]]	+
-	*[[Auteur theory]]	+
-	*[[Feminist film theory]]	+
-	*[[Formalist film theory]]	+
-	*[[Marxist film theory]]	+
-	*[[Oneiric (film theory)]]	+
-	*[[Psychoanalytical film theory]]	+
-	*[[Socialist realism]]	+
-	*[[Screen theory]]	+
-	*[[Structuralist film theory]]	+
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-	== See also ==	+
-	*[[Auteur theory]]	+
-	*[[David Bordwell vs Slavoj Žižek]]	+
-	*[[Fictional film]]	+
-	*[[Film]]	+
-	*[[Philosophy of film]]	+
-	*[[Surrealism and film]]	+
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-	{{GFDL}}	+

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1. redirectFilm