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Robert Stam (born October 29, 1941) is an American film theorist working on film semiotics. He is a professor at New York University , where he teaches about the French New Wave filmmakers. [ 1 ] Stam has published widely on French literature , comparative literature , and on film topics such as film history and film theory .
Robert Stam, Robert Burgoyne, and Sandy Flitterman-Lewis, New Vocabularies in Film Semiotics: Structuralism, Post-structuralism, and Beyond (1992): This work highlighted film semiotics as a new tool in art criticism. The book provided an overview of previous thinkers and defined terms critical to semiotic film theory.
Film theory seeks to systematize film as a medium. It may use Critical theory, Formalism, Marxism, philosophy of language, or Lacanian psychoanalysis, while film criticism analyzes and examines a specific film (though larger generalizations can still be deduced from criticism).
Empathetic sound in a film refers to music or sound effects that match the present action or scene in rhythm, tone, and/or mood and aim to evoke that mood in the audience. The concept, coined by Michel Chion and also associated with Robert Stam, is derived from empathy, i.e., feeling the feelings of others.
Although often considered a type of derivative work, film adaptation has been conceptualized recently by academic scholars such as Robert Stam as a dialogic process. While the most common form of film adaptation is the use of a novel as the basis, other works adapted into films include non-fiction (including journalism), autobiographical works ...
According to Randal Johnson and Robert Stam, Cinema Novo officially began in 1960, with the start of its first phase. [ 12 ] In 1961, the Popular Center of Culture, a subsidiary of the National Students' Union, released Cinco Vezes Favela , a film serialized in five episodes that Johnson and Stam claim to be "one of the first" products of the ...
It was the creation of the auteur theory, which examines film as the director's vision and art, that broadened the scope of academic film studies to a worldwide presence in the 1960s. In 1965, film critic Robin Wood , in his writings on Alfred Hitchcock , declared that Hitchcock's films contained the same complexities of Shakespeare 's plays. [ 3 ]
Film theorist Robert Stam challenged whether genres really exist, or whether they are merely made up by critics. Stam has questioned whether "genres [are] really 'out there' in the world or are they really the construction of analysts?". As well, he has asked whether there is a "... finite taxonomy of genres or are they in principle infinite?"