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<p>Drawing on the crucial insight of contemporary cinematic theory thatfilms actively create -- rather than merely gratify -- the spectators who view them, Casetti probes the complex interrelationship between film and viewer, coalescing keyconcepts from semiotics and psychoanalysis. First published in Italian in 1986 andnow translated for the first time into English, this volume is primarily atheoretical tract, but it affords substantial commentary on individual films bydirectors such as Antonioni, Hitchcock, Bu uel (Bunuel), Welles, and others.Interested not only in how films invent spectators and the reverse, but in howviewers carry films out into the recesses of their lives, Casetti approaches histask in a manner described by his mentor and fellow theorist Christian Metz asscience... wrapped in a thin film of poetry or reverie. Hence, the text is by turnsstraightforward and metaphorical. With its helpful introductions by Metz and DudleyAndrew, and an author's note to the English edi

<p>Drawing on the crucial insight of contemporary cinematic theory thatfilms actively create -- rather than merely gratify -- the spectators who view them, Casetti probes the complex interrelationship between film and viewer, coalescing keyconcepts from semiotics and psychoanalysis. First published in Italian in 1986 andnow translated for the first time into English, this volume is primarily atheoretical tract, but it affords substantial commentary on individual films bydirectors such as Antonioni, Hitchcock, Bu?uel (Bunuel), Welles, and others.Interested not only in how films invent spectators and the reverse, but in howviewers carry films out into the recesses of their lives, Casetti approaches histask in a manner described by his mentor and fellow theorist Christian Metz asscience... wrapped in a thin film of poetry or reverie. Hence, the text is by turnsstraightforward and metaphorical. With its helpful introductions by Metz and DudleyAndrew, and an author's note to the English edi

<p>Drawing on the crucial insight of contemporary cinematic theory that films actively create--rather than merely gratify--the spectators who view them, Casetti probes the complex interrelationship between film and viewer, coalescing key concepts from semiotics and psychoanalysis. First published in Italian in 1986 and now translated for the first time into English, this volume is primarily a theoretical tract, but it affords substantial commentary on individual films by directors such as Antonioni, Hitchcock, Bu uel (Bunuel), Welles, and others. Interested not only in how films invent spectators and the reverse, but in how viewers carry films out into the recesses of their lives, Casetti approaches his task in a manner described by his mentor and fellow theorist Christian Metz as science... wrapped in a thin film of poetry or reverie. Hence, the text is by turns straightforward and metaphorical. With its helpful introductions by Metz and Dudley Andrew, and an author's note to the English edition, this translation will add much to the repertoire of film scholarship at the upper-division undergraduate level and above. It is too specialized for beginning undergraduates and novice general readers.L./P>--L. Babener, Central Washington University Choice (01/01/1999)

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Francesco Casetti, professor of cinema and television at the Catholic University of Milan, is the author of Film Theories 1945-1990. He is also a visiting professor at the University of Paris III and at the University of Iowa. Nell Andrew is a doctoral student in the Department of Art History at the University of Chicago.

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