Film History: Theory and Practice (Latest Revised Edition) Author: [US] Robert C. Allen/Douglas Gomery Publisher: Beijing United Publishing Company

Introduction · · · · · ·
History is interpretation.

New ideas come from new perspectives and methods

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※Editor's Recommendation※

☆This book is one of the few academic works that explores the research methods of film history. As soon as it was published, it received widespread attention and warm welcome from the European and American film academic circles. It just happens to be in line with the development direction of contemporary Western theoretical trends.

☆Rich and interesting cases This book introduces many interesting cases, such as: Was the first effort to preserve films in the United States for the sake of film art? Is Bott the "grandfather" of narrative editing style? How much role did Edison play in the invention of film technology? Why did Hollywood invest in German directors to shoot "high-end art films"? Through these fresh and vivid cases, readers can deeply understand the rich conclusions that can be drawn by using different concepts and methods, and open up a new perspective for film history research.

☆ Special addition of the section "Historology and Debate: Reconstructing Chinese Film Historiography" The translator has specially added more than 80 pages of appendices to the latest edition, which give a detailed introduction to the status of domestic film history research and the methodological issues faced by "Reconstructing Chinese Film Historiography". These articles have been published in "Contemporary Film" and are the latest thinking on the research of Chinese film history. Moreover, the authors are all famous scholars in the field of Chinese film history. They are more or less influenced by "Film History: Theory and Practice", and some articles directly quote this book.

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※Content Introduction※

From the philosophical height of realism, this book comprehensively examines the previous film history research methods, clearly sorts out the aesthetic, economic, technological, and social generation mechanisms, and thoroughly updates the problem framework and research paradigm of film history. At the same time, the author cites a variety of case studies with unique perspectives as theoretical practice, allowing readers to understand the history of film from a new perspective.

The new edition specially adds more than 50 illustrations and the latest thoughts of important domestic scholars on "reconstructing Chinese film history". The cutting-edge and guiding nature of these discussions and their impact on future research on Chinese film history are unquestionable.