This work is an introduction to film theory, suitable for students from any discipline but particularly aimed at those studying film and literature as it examines issues common to both subjects such as realism, illusionism, narration, style and semiotics and also includes theorists common to both.

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.