ديڤد جاي بوردوِل ( //؛ و. 23 يوليو1947)، هومنظر ومؤرخ سينمائي أمريكي. وهوأستاذ في الدراسات السينمائية في جامعة وسكنسن وهومحاضر زائر سنوي في جامعة كولونيا الدولية للسينما.

حياته العملية

الشكلية الجديدة

تأثيره

أعماله

• Bordwell, David (1973). Filmguide to La Passion de Jeanne d’Arc. Bloomington: Indiana University Press.
• Bordwell, David; Kristin Thompson (1979). Film Art: An Introduction. Reading, MA: Addison-Wesley. Ninth edition, 2009.
• Bordwell, David (1980). French Impressionist Cinema: Film Culture, Film Theory, Film Style. New York: Arno Press. Reprint of 1974 Ph.D. dissertation
• Bordwell, David (1981). The Films of Carl-Theodor Dreyer. Berkeley: University of California Press.
• Bordwell, David; Janet Staiger; Kristin Thompson (1985). The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Columbia University Press.
• Bordwell, David (1985). Narration in the Fiction Film. Madison: University of Wisconsin Press.
• Bordwell, David (1988). Ozu and the Poetics of Cinema. Princeton: Princeton University Press.
• Bordwell, David (1989). . Cambridge: Harvard University Press.
• Bordwell, David (1993). The Cinema of Eisenstein. Cambridge: Harvard University Press.
• Bordwell, David; Kristin Thompson (1994). Film History: An Introduction. New York: McGraw-Hill. Third edition, 2010.
• Bordwell, David; Noël Carroll, eds. (1996). Post-Theory: Reconstructing Film Studies. Madison: University of Wisconsin Press.
• Bordwell, David (1997). On the History of Film Style. Cambridge: Harvard University Press.
• Bordwell, David (2000). Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge: Harvard University Press.
• Bordwell, David (2005). Figures Traced in Light: On Cinematic Staging. Berkeley: University of California Press.
• Bordwell, David (2006). The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: University of California Press.
• Bordwell, David (2008). . Berkeley: Routledge.
• Bordwell, David; Kristin Thompson (2011). . Chicago: University of Chicago Press.
• Bordwell, David (2016). . Chicago: University of Chicago Press.
• Bordwell, David (2017). . Chicago: University of Chicago Press.

منطقات مختارة

• “The Art Cinema as a Mode of Film Practice” Film Criticism 4:1 (Fall 1979); revised for Poetics of Cinema
• “Textual Analysis, Etc.” Enclitic 5:2 / 6:1 (Fall 1981 / Spring 1982); see also “Textual Analysis Revisited” Enclitic 7:1 (Spring 1983) written in response to Lawrence Crawford
• “Lowering the Stakes: Prospects for a Historical Poetics of Cinema” Iris 1:1 (1983)
• “Mizoguchi and the Evolution of Film Language” in Cinema and Language, eds. Stephen Heath and Patricia Mellencamp (AFI 1983)
• “Jump Cuts and Blind Spots” Wide Angle 6:1 (1984)
• “Widescreen Aesthetics and Mise-en-Scene Criticism” “The Velvet Light Trap 21 (Summer 1985)
• “A Salt and Battery” (with Kristin Thompson) Film Quarterly, 40:2 (Winter 1986-87; from a polemic between Bordwell/Thompson and Barry Salt regarding The Classical Hollywood Cinema and Salt's own work on classical Hollywood style and technology
• “Approppriations and ImPropprieties: Problems in the Morphology of Film Narrative” Cinema Journal 27:3 (Spring 1988
• “Adventures in the Highlands of Theory” Screen 29:1 (Winter 1988); from a polemic between Bordwell/Staiger/Thompson and Barry King regarding King's two-part review of The Classical Hollywood Cinema
• “A Case for Cognitivism” Irisتسعة (Spring 1989); see also “A Case for Cognitivism: Further Reflections” Iris 11 (Summer 1990) written in response to Dudley Andrew
• “A Cinema of Flourishes: Japanese Decorative Classicism of the Prewar Era” in Directions in Japanese Cinema, eds. David Desser and Arthur Noletti (Indiana 1992); reprinted in Poetics of Cinema
• “Cognition and Comprehension: Viewing and Forgetting in Mildred Pierce” Journal of Dramatic Theory and Criticism 6:2 (Spring 1992); revised for Poetics of Cinema
• “Film Interpretation Revisited” Film Criticism 17:2-3 (Winter/Spring 1993); written in response to critics of Making Meaning
• “The Power of a Research Tradition: Prospects for a Progress in the Study of Film Style” Film History 6:1 (Spring 1994)
• “Visual Style in Japanese Cinema, 1925-1945” Film History 7:1 (Spring 1995); revised for Poetics of Cinema
• “Contemporary Film Studies and the Vicissitudes of Grand Theory” in Post-Theory (UW-Madison 1996)
• “Convention, Construction, and Cinematic Vision” in Post-Theory (UW-Madison 1996); reprinted in Poetics of Cinema
• “?” The Velvet Light Trap 37 (Spring 1996); revised for Figures Traced in Light
• “Aesthetics in Action: Kung Fu, Gunplay, and Cinematic Expressivity” in Fifty Years of Electric Shadows, ed. Law Kar (Urban Council / Hong Kong International Film Festival 1997); reprinted in Poetics of Cinema
• “Richness through Imperfection: King Hu and the Glimpse” in Transcending the Times: King Hu and Eileen Chan, ed. Law Kar (Urban Council / Hong Kong International Film Festival 1998); revised for Poetics of Cinema
• “Transcultural Spaces: Toward a Poetics of Chinese Film” Post Script 20:2 (2001)
• “Film Futures” Substance 97 (2002); reprinted in Poetics of Cinema
• “Intensified Continuity: Visual Style in Contemporary American Film” Film Quarterly 55:3 (Spring 2002); revised for The Way Hollywood Tells It
• “Who Blinked First? How Film Style Streamlines Nonverbal Interaction” Style and Story: Essays in Honor of Torben Grodal, eds. Lennard Hojbjerg and Peter Schepelern (Museum Tusulanum Press 2003); reprinted in Poetics of Cinema
• “CinemaScope: The Modern Miracle You See without Glasses!” in Poetics of Cinema; an expanded revision of "Schema and Revision: Staging and Composition in Early CinemaScope" in Le CinemaScope Entre art et industrie, ed. Jean-Jacques Meusy (AFRHC 2004)
• “Rudolf Arnheim: Clarity, Simplicity, Balance” in Arnheim for Film and Media Studies, ed. Scott Higgins (Routledge 2010); an expanded revision of Simplicity, clarity, balance: A tribute to Rudolf Arnheim from davidbordwell.net (June 15, 2007)

تسجيلات مختارة

• “How Motion Pictures Become the Movies 1908-1920: Thirteen years that changed world cinema”
• “CinemaScope: The Modern Miracle You See without Glasses!”
• “Hou Hsiao-hsien: Constraints Traditions and Trends”

منطقات مختارة

• Irisتسعة (Spring 1989) “Cinema and Cognitive Psychology”; issue edited by Dudley Andrew, featuring essays by Bordwell (“A Case for Cognitivism”), Julian Hochberg, Virginia Brooks, Dirk Eitzen, and Michel Colin; in Iris 11 Bordwell responds to Andrew's characterization of cognitive film theory (“A Case for Cognitivism: Further Reflections”), followed by Andrew's reply
• Journal of Dramatic Theory and Criticism 6:2 (Spring 1992) “Cognitive Science and Cinema”; supplement edited by Edward S. Small, featuring essays by Bordwell (“Cognition and Comprehension: Viewing and Forgetting in Mildred Pierce”), Joseph Anderson, and Calvin Pryluck, as well as Noël Carroll's response to Warren Buckland's review of Mystifying Movies: Fads and Fallacies in Contemporary Film Theory (from Screen 30:4), a response which the editors of Screen supposedly refused to print
• Film Criticism 17:2-3 (Winter/Spring 1993), "'Film Interpretation, Inc.': Issues in Contemporary Film Studies", issue dedicated to Making Meaning, featuring essays from Edward Branigan, RIck Altman, David A. Cook, Thomas Elsaesser, Robert B. Ray, and Robin Wood; Bordwell responds in length at the end ("Film Interpretation Revisited")
• Style 32:3 (Fall 1998), “Style in Cinema”, issue edited by Bordwell, complementing On the History of Film Style and featuring essays by Noël Carroll, Lea Jacobs, Charles O'Brien, and Scott Higgins

المصادر

وصلات خارجية

• David Bordwell. "David Bordwell's Website on Cinema". Retrieved March 28, 2006.
• David Bordwell. "David Bordwell's CV". Retrieved December 14, 2006.
• Chuck Stephens. "School's Out? Never!: David Bordwell Keeps Working the Room (interview)". Cinema Scope. Archived from the original on April 8, 2006. Retrieved March 28, 2006.
• "Observations on film art Facebook feed". Retrieved July 21, 2014.