Abstract
Perceptual shifts related to the technological conditions of film scholarship have shaped the analysis of film. Using a cross section of scholarship on Hitchcock dating back to the 1960s – as it represents a large, varied, and longitudinal data set – including the work of Robin Wood, Maurice Yacowar, William Rothman, Raymond Bellour, Stanley Cavell, Murray Pomerance, and Joe McElhaney, I demonstrate the ways that the film critic and scholar arrive at their analysis of films amidst new ages of technology – technology that enables and drastically alters the academic discourse on film.Viewing environments and operations available to film scholars throughout history,
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