This text details the making of Blade Runner and its steadily improving fortunes after its indifferent reception in 1982. The film is situated in terms of the debates about postmodernism which have informed the large body of criticism devoted to it.

Focuses on the trends in film technology and viewership, treating film studies as an extension of cultural studies. This work takes into account the attendant theoretical considerations.

Richard Gilman referred to How to Read a Film as simply the best single work of its kind. And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way. Indeed, since its original publication in 1977, this hugely popular book has become the definitive ...

Deleuze identifies three distinct principal types of 'image movement' and draws upon diverse examples from the work of such major filmmakers as Griffith, Eisenstein, Cassavetes and Altman.

Offers a fascinating analysis of the representation of time in film and the cinematic treatment of memory, thought and speech, and looks at the work of Godard, Hitchcock and Welles.

Arnheim's method was to focus on the way art in film was derived from that medium's early limitations: no sound, no color, and no three-dimensional depth.