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Roland Barthes and Film: Myth, Eroticism and Poetics

Research output: Book/ReportBookpeer-review

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Roland Barthes and Film : Myth, Eroticism and Poetics. / Ffrench, Patrick.

London : Bloomsbury Academic, 2019. 328 p. (Film thinks).

Research output: Book/ReportBookpeer-review

Harvard

Ffrench, P 2019, Roland Barthes and Film: Myth, Eroticism and Poetics. Film thinks, Bloomsbury Academic, London. <https://www.bloomsbury.com/uk/roland-barthes-and-film-9781350120518/>

APA

Ffrench, P. (2019). Roland Barthes and Film: Myth, Eroticism and Poetics. (Film thinks). Bloomsbury Academic. https://www.bloomsbury.com/uk/roland-barthes-and-film-9781350120518/

Vancouver

Ffrench P. Roland Barthes and Film: Myth, Eroticism and Poetics. London: Bloomsbury Academic, 2019. 328 p. (Film thinks).

Author

Ffrench, Patrick. / Roland Barthes and Film : Myth, Eroticism and Poetics. London : Bloomsbury Academic, 2019. 328 p. (Film thinks).

Bibtex Download

@book{5bf27f350e174fafa3daa916bf99616a,
title = "Roland Barthes and Film: Myth, Eroticism and Poetics",
abstract = "Suspicious of what he called the spectator's “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.",
keywords = "Roland Barthes, Cinema, Photography, Visual Theory",
author = "Patrick Ffrench",
year = "2019",
month = oct,
day = "17",
language = "English",
isbn = "9781350191372",
series = "Film thinks",
publisher = "Bloomsbury Academic",

}

RIS (suitable for import to EndNote) Download

TY - BOOK

T1 - Roland Barthes and Film

T2 - Myth, Eroticism and Poetics

AU - Ffrench, Patrick

PY - 2019/10/17

Y1 - 2019/10/17

N2 - Suspicious of what he called the spectator's “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.

AB - Suspicious of what he called the spectator's “sticky” adherence to the screen, Roland Barthes had a cautious attitude towards cinema. Falling into a hypnotic trance, the philosopher warned, an audience can become susceptible to ideology and “myth”. In this book, Patrick Ffrench explains that although Barthes was wary of film, he engaged deeply with it. Barthes' thought was, Ffrench argues, punctuated by the experience of watching films – and likewise his philosophy of photography, culture, semiotics, ethics and theatricality have been immensely important in film theory.Focusing particularly on the essays 'The Third Meaning' and 'On Leaving the Cinema' and the acclaimed book Camera Lucida, Ffrench examines Barthes' writing and traces a persistent interest in films and directors, from Fellini and Antonioni, to Eisenstein, the Marx Brothers and Hitchcock. Ffrench explains that although Barthes found pleasure in “leaving the cinema” – disconnecting from its dangerous allure by a literal exit or by forcefully breaking the trance – he found value in returning to the screen anew. Barthes delved beneath the pull of progressing narrative and the moving image by becoming attentive to space and material aesthetics. This book presents an invaluable reassessment of one of the most original and subtle thinkers of the twentieth-century: a figure indebted to the movies.

KW - Roland Barthes, Cinema, Photography, Visual Theory

M3 - Book

SN - 9781350191372

SN - 9781788310659

T3 - Film thinks

BT - Roland Barthes and Film

PB - Bloomsbury Academic

CY - London

ER -

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