Edward Branigan is Professor Emeritus in the Department of Film and Media Studies at the University of California, Santa Barbara. He is the author of Projecting a Camera: Language-Games in Film Theory, Narrative Comprehension and Film, and Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. With Charles Wolfe, he is the general editor of the American Film Institute Film Readers series.

Warren Buckland is Reader in Film Studies at Oxford Brookes University. His areas of research include film theory (Film Theory: Rational Reconstructions, 2012 and The Cognitive Semiotics of Film, 2000) and film narratology (Puzzle Films: Complex Storytelling in Contemporary Cinema, 2009 and Hollywood Puzzle Films, 2014). He is editor of the quarterly journal the New Review of Film and Television Studies.

Affect. Anglo-American Film Theory. Apparatus Theory (Baudry). Apparatus Theory (Plato). Art, Film as. Attention. Attraction. Auteur Theory.Blending and Film Theory. Brecht and Film. Camera. Cinematic Movement. Classic Realist Text. Classical Film Theory. Close-up. Cognitive Film Theory. Concept. Contemporary Film Theory. Counter Cinema. Depth of Field. Dialogism. Diegesis. Digital Cinema. Documentary Theory. Emotion, Film and. Enunciation. Ethics. European Film Theory. Evidence (Jean-Luc Nancy). Excess, Cinematic. Fantasy and Spectatorship. Feminist Film Theory, Core Concepts. Feminist Film Theory, History of. Film Fable (Rancière). Film-Philosophy. Formalist Theories of Film. Gaming and Film Theory. Gaze Theory. Genre Theory. Identification, Theory of. Ideology. Illusion. Imaginary Signifier. Imagined Observer Hypothesis. Inaesthetics (Badiou). Interface. Long Take. Memory and Film. Mimetic Innervation. Minor Cinema. Mise en Scène. Modernism versus Realism. Montage Theory I (Hollywood). Montage Theory II (Soviet Avant-Garde). Movement-Image. Narration. Ontology of the Photographic Image. Ordinary Man of the Cinema (Schefer). Perspectivism versus Realism. Phenomenology and Film. Pixel/Cut/Vector. Poetic Cinema. Point of View. Postmodern Cinema. Queer Theory. Reception Theory. Redemption. Representation. Rhetoric, Film and. Seeing/Perceiving. Semiotics of Film. Skepticism. Sound Theory. Specificity, Medium I. Specificity, Medium II. Structural/Materialist Film. Suture. Symbol and Analogon. Symptomatic Reading. Third World Cinema. Time-Image. Trauma. Voice.