{"id":521,"date":"2010-08-28T07:19:39","date_gmt":"2010-08-28T14:19:39","guid":{"rendered":"http:\/\/miriamposner.com\/blog\/?page_id=521"},"modified":"2010-08-28T11:34:25","modified_gmt":"2010-08-28T18:34:25","slug":"oral-examination-reading-list-major-theories-of-spectatorship","status":"publish","type":"page","link":"https:\/\/miriamposner.com\/blog\/oral-examination-reading-list-major-theories-of-spectatorship\/","title":{"rendered":"Major Theories of Spectatorship"},"content":{"rendered":"

Major Theories of Spectatorship<\/strong>
\n(With a Focus on Hitchcock)<\/strong>
\nOral examination list
\nExaminer: Professor Brigitte Peucker
\nExam administered March 2005<\/p>\n

Apparatus Theory<\/strong>
\nBaudry, J.-L. \u201cIdeological Effects of the Basic Cinematic Apparatus.\u201d In P. Rosen, ed., Narrative, Apparatus, Ideology<\/em>. New York: Columbia University Press, 1986.<\/p>\n

Cahiers du Cin\u00e9ma<\/em> (collective text). \u201cYoung Mr. Lincoln<\/em>.\u201d English trans. in Screen<\/em> 13 (Autumn 1972), 5\u201344. <\/strong><\/p>\n

Psychoanalysis<\/strong>
\nDoane, Mary Ann. \u201cFilm and the Masquerade: Theorizing the Female Spectator\u201d and \u201cMasquerade Reconsidered.\u201d In Femmes Fatales: Feminism, Film Theory, Psychoanalysis<\/em>. New York: Routledge, 1991.<\/p>\n

Mulvey, Laura. \u201cVisual Pleasure and Narrative Cinema\u201d and <\/em>\u201cAfterthoughts on \u2018Visual Pleasure and Narrative Cinema\u2019: Inspired by A Duel in the Sun<\/em>.\u201d In Visual and Other Pleasures<\/em>. Bloomington: Indiana University Press, 1989.<\/p>\n

Bergstrom, Janet. “Enunciation and Sexual Difference (part I).\u201d Camera Obscura,<\/em> Summer 79; p.32-69.<\/p>\n

Brent, Jessica. “Beyond the Gaze: Visual Fascination and the Feminine Image in Silent Hitchcock.” Camera Obscura<\/em>, May 2004 i55 p77(36).<\/p>\n

Modleski, Tina. The Women Who Knew Too Much: Hitchcock and Feminist Theory<\/em>. New York and London: Methuen, 1988.<\/p>\n

Williams, Linda. \u201cWhen the Woman Looks,” in Re-Vision: Essays in Feminist Film Criticism<\/em>, Eds. Doane, Mellencamp and Williams (American Film Institute Monograph Series, l983) 83-99.<\/p>\n

\u2014\u2014. “Discipline and Distraction: The Care and Handling of Psycho,” in “Culture” and The Problem of the Disciplines<\/em>, ed. John Carlos Rowe (Columbia University Press,1998).<\/p>\n

Zizek, Slavoj. \u201cThe Hitchcockian Blot.\u201d In Looking Awry:\u00a0 An Introduction to Jacques Lacan Through Popular Culture<\/em> (MIT Press, 1998.<\/p>\n

Zizek, Slavoj. Everything You Wanted to Know About Lacan (But Were Afraid to Ask Hitchcock).<\/em> London: Verson, 1992. <\/strong><\/p>\n

Semiotics<\/strong>
\nCasetti, Francesco. “Face to Face.” In Warren Buckland, ed., The Film Spectator: From Sign to Mind<\/em>. Chicago: University of Amsterdam, 1995.<\/p>\n

Silverman, Kaja. \u201cSuture.\u201d In The Subject of Semiotics<\/em>. New York: Oxford University Press, 1984.<\/p>\n

Historical\/Empirical<\/strong>
\nStacey, Jackie. \u201cStar Gazing: Hollywood Cinema and Female Spectatorship.\u201d The Audience Studies Reader<\/em>. Eds. Will Brooker and Deborah Jermyn. London: Routledge, 2003. 150-58.<\/p>\n

Staiger, Janet. Perverse Spectators: The Practices of Film Reception<\/em>. New York: New York University Press, 2000. <\/p>\n

Hawkins, Joan. “”See It from the Beginning”: Hitchcock’s Reconstruction of Film History.” Hitchcock Annual<\/em> [1999-2000] 13-29.<\/p>\n

Smith, Bob. “The Birds as a Pre-Stonewall Parable.” Gay & Lesbian Review<\/em> v8, n2 (March, 2001):25.<\/p>\n

Cognitive<\/strong>
\nBordwell, David, ed. Post-Theory: Reconstructing Film Studies<\/em>. Madison: University of Wisconsin Press, 1996.<\/p>\n

Synthetic\/Surveys<\/strong>
\nAumont, Jacques. Aesthetics of Film<\/em>. \u201cFilm and its Spectator.\u201d<\/p>\n

Doane, Mary Ann, and Janet Bergstrom, ed. \u201cThe Spectatrix.\u201d Special issue of Camera Obscura<\/em>, v. 20-21.<\/p>\n

Gottlieb, Sydney, and Christopher Brookhouse, ed. Framing Hitchcock: Selected Essays from the \u201cHitchcock Annual.\u201d<\/em> Detroit: Wayne State University, 2002. (Esp. Bertollini, \u201cRear Window, or the Reciprocal Glance\u201d; Leitch, \u201cThe Hitchcock Moment\u201d; and Allen, \u201cAn Interview with Jay Presson Allen.\u201d)<\/p>\n

Hesling, W. “Classical Cinema and the Spectator.” Literature\/ Film Quarterly<\/em>, vol. 15 no. 3. 1987. pp: 181-189.<\/p>\n

Mayne, J. Cinema and Spectatorship<\/em>. London and New York: Routledge, 1993.<\/p>\n

White, Susan M. “Review Essay: With Regard to Female Spectatorship.” Quarterly Review of Film and Video<\/em> v. 12 (Sept. ’91) p. 93-105.<\/p>\n

Queer perspectives<\/strong>
\nCorber, Robert J. “Reconstructing Homosexuality: Hitchcock and the Homoerotics of Spectatorial Pleasure.” Discourse: Journal for Theoretical Studies in Media and Culture, <\/em>vol. 13 no. 2. 1991 Spring-Summer. pp: 58-82.<\/p>\n

\u2014\u2014. \u201cHitchcock\u2019s Washington: Spectatorship, Ideology, and the \u2018Homosexual Menace\u2019 in Strangers on a Train<\/em>.\u201d Hitchcock\u2019s America<\/em>. Ed. Jonathan Freedman and Richard Millington. NY: Oxford UP, 1999. 99-121.<\/p>\n

Phenomenology<\/strong>
\nMerleau-Ponty, Maurice. \u201cEye and Mind.\u201d The Primacy of Perception and Other Essays on Phenomenology, Psychology, the Philosophy of Art, History and Politics. <\/em>Evanston, Illinois: <\/em>Northwestern University Press, 1964.<\/p>\n

\u2026 And, Finally, the Films<\/strong>
\nThe Birds<\/em> (1963)
\nNorth by Northwest<\/em> (1959)
\nPsycho<\/em> (1960)
\nRear Window<\/em> (1954)
\nStrangers on a Train<\/em> (1951)
\nVertigo<\/em> (1958)<\/p>\n","protected":false},"excerpt":{"rendered":"

Major Theories of Spectatorship (With a Focus on Hitchcock) Oral examination list Examiner: Professor Brigitte Peucker Exam administered March 2005 Apparatus Theory Baudry, J.-L. \u201cIdeological Effects of the Basic Cinematic Apparatus.\u201d In P. Rosen, ed., Narrative, Apparatus, Ideology. New York: Columbia University Press, 1986. Cahiers du Cin\u00e9ma (collective text). \u201cYoung Mr. Lincoln.\u201d English trans. in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-521","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/pages\/521","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/comments?post=521"}],"version-history":[{"count":4,"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/pages\/521\/revisions"}],"predecessor-version":[{"id":541,"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/pages\/521\/revisions\/541"}],"wp:attachment":[{"href":"https:\/\/miriamposner.com\/blog\/wp-json\/wp\/v2\/media?parent=521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}