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-	{{Template}}	+	#redirect[[Film]]
-	:''[[David Bordwell vs Slavoj Žižek]]''	+
-	'''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]].<ref>[[Robert Stam]], ''Film Theory: an introduction", Oxford: Blackwell Publishers, 2000.</ref> 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.<ref>[[André Bazin]], ''What is Cinema?'' essays selected and translated by Hugh Gray, Berkeley: University of California Press, 1971.</ref>	+
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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.<ref>[[Slavoj Žižek]], ''Welcome to the Desert of the Real'', London: Verso, 2000.</ref> 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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-	==See also==	+
-	*[[Philosophy of film]]	+
-	*[[Film journals and magazines]]	+
-	*[[Film]]	+
-	*[[Fictional film]]	+
-	*[[List of film-related topics|List of motion picture-related topics]]	+
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-	==Further reading==	+
-	*[[Dudley Andrew]], ''Concepts in Film Theory'', Oxford, New York: Oxford University Press, 1984.	+
-	*[[Francesco Casetti]], ''Theories of Cinema, 1945-1990'', Austin: University of Texas Press, 1999.	+
-	* [[Stanley Cavell]], [http://books.google.com/books?id=Ro23ozNGdzQC&printsec=frontcover&dq=stanley+cavell&ei=NsO5SNm_EIbMywSB3aiuAw&sig=ACfU3U2CBJE_tKHfu5Oa5bUbmh93DafQXQ#PPP1,M11 ''The World Viewed: Reflections on the Ontology of Film''] (1971); 2nd enlarged edn. (1979)	+
-	*[[Bill Nichols]], ''Representing Reality. Issues and Concepts in Documentary'', Bloomington: Indiana University Press, 1991.	+
-	*''The Oxford Guide to Film Studies'', [[Oxford University Press]], 1998.	+
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-	== List of film theorists ==	+
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-	* [[Rudolf Arnheim]]	+
-	* [[Béla Balázs]]	+
-	* [[André Bazin]]	+
-	* [[Walter Benjamin]]	+
-	* [[David Bordwell]]	+
-	* [[Riciotto 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]]	+
-	*[[Psychoanalytical film theory]]	+
-	*[[Socialist realism]]	+
-	*[[Screen theory]]	+
-	*[[Structuralist film theory]]	+
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-	== See also ==	+
-	*[[Auteur theory]]	+
-	*[[Surrealism and film]]	+
-	*[[David Bordwell vs Slavoj Žižek]]	+
-	*[[Oneiric (film theory)]]	+
-	*[[Feminist film theory]]	+
-	*[[Psychoanalytical film theory]]	+
-	*[[Film as a Subversive Art]]	+
-	*[[Visual Pleasure and Narrative Cinema]]	+
-	{{GFDL}}	+

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1. redirectFilm