Part I. Experimental Studies: 2. Experiment in psychology 3. Experiments on perceiving III Experiments on imaging 4-8. Experiments on remembering: (a) The method of description (b) The method of repeated reproduction (c) The method of picture writing (d) The method of serial reproduction (e) The method of serial reproduction picture material 9. Perceiving, recognizing, remembering 10. A theory of remembering 11. Images and their functions 12. Meaning Part II. Remembering as a Study in Social Psychology: 13. Social psychology 14. Social psychology and the matter of recall 15. Social psychology and the manner of recall 16. Conventionalism 17. The notion of a collective unconscious 18. The basis of social recall 19. A summary and some conclusions.

Remembering. A Study in Experimental and Social Psychology, Cambridge (University Press) 1964.

This paper attempts to take the politics of affect as not just incidental but central to the life of cities, given that cities are thought of as inhuman or transhuman entities and that politics is understood as a process of community without unity. It is in three main parts. The first part sets out the main approaches to affect that conform with this approach. The second part considers the ways in which the systematic engineering of affect has become central to the political life of Euro‐American cities, and why. The third part then sets out the different kinds of progressive politics that might become possible once affect is taken into account. There are some brief conclusions.

https://onlinelibrary.wiley.com/doi/pdf/10.1111/j.0435-3684.2004.00154.x

Intensities of feeling: towards a spatial politics of affect

This article continues to operationally define and test the resource-based view of the firm in a study of the major U.S. film studios from 1936 to 1965. We found that property-based resources in th...

The Resource-Based View of the Firm in Two Environments: The Hollywood Film Studios From 1936 to 1965

How have changes in media affected our everyday experience, behavior, and sense of identity? Such questions have generated endless arguments and speculations, but no thinker has addressed the issue with such force and originality as Joshua Meyrowitz in No Sense of Place. Advancing a daring and sophisticated theory, Meyrowitz shows how television and other electronic media have created new social situations that are no longer shaped by where we are or who is "with" us. While other media experts have limited the debate to message content, Meyrowitz focuses on the ways in which changes in media rearrange "who knows what about whom" and "who knows what compared to whom," making it impossible for us to behave with each other in traditional ways. No Sense of Place explains how the electronic landscape has encouraged the development of: -More adultlike children and more childlike adults; -More career-oriented women and more family-oriented men; and -Leaders who try to act more like the "person next door" and real neighbors who want to have a greater say in local, national, and international affairs. The dramatic changes fostered by electronic media, notes Meyrowitz, are neither entirely good nor entirely bad. In some ways, we are returning to older, pre-literate forms of social behavior, becoming "hunters and gatherers of an information age." In other ways, we are rushing forward into a new social world. New media have helped to liberate many people from restrictive, place-defined roles, but the resulting heightened expectations have also led to new social tensions and frustrations. Once taken-for-granted behaviors are now subject to constant debate and negotiation. The book richly explicates the quadruple pun in its title: Changes in media transform how we sense information and how we make sense of our physical and social places in the world.

No sense of place : the impact of electronic media on socialbehavior

What is narrative? How does it work and how does it shape our lives? H. Porter Abbott emphasizes that narrative is found not just in literature, film, and theatre, but everywhere in the ordinary course of people's lives. This widely used introduction, now revised and expanded in its third edition, is informed throughout by recent developments in the field and includes one new chapter. The glossary and bibliography have been expanded, and new sections explore unnatural narrative, retrograde narrative, reader-resistant narratives, intermedial narrative, narrativity, and multiple interpretation. With its lucid exposition of concepts, and suggestions for further reading, this book is not only an excellent introduction for courses focused on narrative but also an invaluable resource for students and scholars across a wide range of fields, including literature and drama, film and media, society and politics, journalism, autobiography, history, and still others throughout the arts, humanities, and social sciences.

The Cambridge Introduction to Narrative

Narration in the Fiction Film

Shows that Hollywood films operate within a set of assumptions, shared by different genres, directors and studios, about how a film should look and sound. Details how these conventions came to standardize the whole filmmaking process itself.

The Classical Hollywood Cinema: Film Style & Mode of Production to 1960

Acknowledgments Introduction: Beyond the Blockbuster part i: a real story 1. Continuing Tradition, by Any Means Necessary 2. Pushing the Premises 3. Subjective Stories and Network Narratives 4. A Certain Amount of Plot: Tentpoles, Locomotives, Blockbusters, Megapictures, and the Action Movie part ii: a stylish style 1. Intensified Continuity: Four Dimensions 2. Some Likely Sources 3. Style, Plain and Fancy 4. What's Missing? Appendix: A Hollywood Timeline, 1960--2004 Bradley Schauer and David Bordwell Notes Index

The Way Hollywood Tells It: Story and Style in Modern Movies

David Bordwell's new book is at once a history of film criticism, an analysis of how critics interpret film, and a proposal for an alternative program for film studies. It is an anatomy of film criticism meant to reset the agenda for film scholarship. As such "Making Meaning" should be a landmark book, a focus for debate from which future film study will evolve. Bordwell systematically maps different strategies for interpreting films and making meaning, illustrating his points with a vast array of examples from Western film criticism. Following an introductory chapter that sets out the terms and scope of the argument, Bordwell goes on to show how critical institutions constrain and contain the very practices they promote, and how the interpretation of texts has become a central preoccupation of the humanities. He gives lucid accounts of the development of film criticism in France, Britain, and the United States since World War II; analyzes this development through two important types of criticism, thematic-explicatory and symptomatic; and shows that both types, usually seen as antithetical, in fact have much in common. These diverse and even warring schools of criticism share conventional, rhetorical, and problem-solving techniques--a point that has broad-ranging implications for the way critics practice their art. The book concludes with a survey of the alternatives to criticism based on interpretation and, finally, with the proposal that a historical poetics of cinema offers the most fruitful framework for film analysis.

Making Meaning: Inference and Rhetoric in the Interpretation of Cinema

Part 1 Early cinema: the invention and early years of the cinema, 1880s-1904 the international expansion of the cinema, 1905-1912 national cinemas, Hollywood classicism and World War I, 1913-1919. Part 2 The late silent era, 1919-1928: France in the 1920s Germany in the 1920s Soviet cinema in the 1920s the late silent era in Hollywood - 1920-1928 international trends of the 1920s. Part 3 The development of sound cinema, 1926-1945: the introduction of sound the Hollywood studio system, 1930-1945 other studio systems cinema and the state - the USSR, Germany and Italy, 1930-1945 France, 1930-1945 - poetic realism, the popular front and the occupation leftist, documentary and experimental cinemas, 1930-1945. Part 4 The post-war era, 1946-1960s: American cinema in the post-war era, 1946-1967 post-war European cinema - neorealism and other trends post-war European cinema - France, Scandinavia and Britain post-war cinema beyond the West art cinema and the idea of authorship new waves and young cinemas documentary and experimental cinema in the post-war era. Part 5 The contemporary cinema since the 1960s: third world cinema, 1960s-1970s documentary and experimental film Hollywood's fall and rise - since the 1960s new cinemas and new developments - Europe, the USSR and the Pacific since the 1970s new cinemas in developing countries since the 1970s.

David Bordwell

Papers

Narration in the Fiction Film

The Classical Hollywood Cinema: Film Style & Mode of Production to 1960

The Way Hollywood Tells It: Story and Style in Modern Movies

Making Meaning: Inference and Rhetoric in the Interpretation of Cinema

Film History: An Introduction