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010 a| 2013014616;

020 a| 9780230365131 (hardback);

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100 1 a| Cooper, Sarah,d| 1971-?| UNAUTHORIZED;

245 14 a| The soul of film theoryh| [electronic resource] /c| Sarah Cooper, King's College London, UK.;

260 a| Houndsmills, Basingstoke, Hampshire ;a| New York :b| Palgrave Macmillan,c| 2013.;

300 a| x, 209 pages, 8 pages of unnumbered plates :b| illustrations (some color) ;c| 23 cm;

504 a| Includes bibliographical references (pages 188-201) and index.;

505 8 a| Machine generated contents note: Introduction: The Soul of Film Theory -- 1. Classical Souls -- 2. Signifying Souls -- 3. Body and Soul -- Concluding Remarks.;

506 a| Available only to authorized users.;

520 a| "In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory - from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic - to the mid-twentieth century work of Henri Agel and Amédée Ayfre and Henri Agel, as well as Edgar Morin, the soul emerges as a multi-faceted, if contested, concept. By revisiting such key moments in the history of film theory, and tracing the survival of this concept through to a range of cutting-edge debates today, from the work of Vivian Sobchack to Jean-Luc Nancy, Gilles Deleuze to Torben Grodal, The Soul of Film Theory tells the heretofore tacit tale of the relation between cinema and the soul, from classical to contemporary times, in dialogue with philosophy, religion, and science"--c| Provided by publisher.;

538 a| Mode of access: World Wide Web;

650 0 a| Motion picturesx| Philosophy.=| ^A62239;

650 0 a| Motion picturesx| Psychological aspects.=| ^A23851;

650 7 a| BODY, MIND & SPIRIT / General.2| bisacsh;

650 7 a| PHILOSOPHY / General.2| bisacsh;

650 7 a| SOCIAL SCIENCE / Media Studies.2| bisacsh;

655 0 a| Electronic books.=| ^A491897;

856 40 z| Full text available from eBooks on EBSCOhostu| https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=593011&scope=site&custid=s5822723&authtype=ip,shib;

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The soul of film theory / Sarah Cooper, King's College London, UK.

Author/creator	Cooper, Sarah, 1971-
Format	Electronic
Publication Info	Houndsmills, Basingstoke, Hampshire ; New York : Palgrave Macmillan, 2013.
Description	x, 209 pages, 8 pages of unnumbered plates : illustrations (some color) ; 23 cm
Supplemental Content	Full text available from eBooks on EBSCOhost
Subjects	Motion pictures--Philosophy. Motion pictures--Psychological aspects.

Contents	Machine generated contents note: Introduction: The Soul of Film Theory -- 1. Classical Souls -- 2. Signifying Souls -- 3. Body and Soul -- Concluding Remarks.
Abstract	"In contemporary film theory, body and mind have been central to explorations of film form, representation, and spectatorship. While the soul may seem to have no place here, the history of film theory and its legacy to the present suggest otherwise. From the origins of film theory - from Hugo Münsterberg through French Impressionism to writings of the Weimar Republic - to the mid-twentieth century work of Henri Agel and Amédée Ayfre and Henri Agel, as well as Edgar Morin, the soul emerges as a multi-faceted, if contested, concept. By revisiting such key moments in the history of film theory, and tracing the survival of this concept through to a range of cutting-edge debates today, from the work of Vivian Sobchack to Jean-Luc Nancy, Gilles Deleuze to Torben Grodal, The Soul of Film Theory tells the heretofore tacit tale of the relation between cinema and the soul, from classical to contemporary times, in dialogue with philosophy, religion, and science"-- Provided by publisher.
Bibliography note	Includes bibliographical references (pages 188-201) and index.
Access restriction	Available only to authorized users.
Technical details	Mode of access: World Wide Web
Genre/form	Electronic books.
LCCN	2013014616
ISBN	9780230365131 (hardback)

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The soul of film theory / Sarah Cooper, King's College London, UK.

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