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by Elena Gorfinkel (Author), John David Rhodes (Author)
What are film props? What do they do? This book answers these questions by a close attention to those material objects that are used to construct cinematic worlds.
The term "prop" is short for property. This truncated term's etymology belies the expansiveness of the concept and indicates the micro and macro scales at which the prop operates. Props are the material--often literal--furniture of cinema's diegetic reality. Props are also narrative agents: think of the animacy of objects in Jean Epstein's account of photogénie, the crystal egg in Risky Business, or the domestic bric-à-brac of Sirk's melodramas. The prop is central to production design and the construction of mise-en-scène. And yet, the prop has rarely--almost never--been taken as an object of analysis and theorization in its own right. This book begins by tracing the prop's curious but unacknowledged role in film theory, before proceeding to a series of theoretical speculations and close readings that bring the prop into focus. Analyses of scenes of "prop mastery" demonstrate the labor that props perform and enable, as well as the interpretive work they make possible. Across a variety of genres, modes, and historical contexts--studio filmmaking, art cinema, adult and avant-garde films--The Prop introduces readers to the notion of "prop value," a quality that puts the prop in proximity to the capitalist commodity, but also provides an ironic distance from the commodity's subjection to exchange value. Gorfinkel and Rhodes argue that the prop is nothing less than a condensation of how labor, subjection, value, and instrumentality underwrite the very conditions of cinema.Back Jacket
"A beautiful object in itself, Gorfinkel's and Rhodes' inspiring book brings to life the object in film. It gives the prop its deserved close-up and in doing so unravels a fascinating new way of looking at cinema."--Joanna Hogg, director of The Souvenir
What are film props? What do they do? This book answers these questions by a close attention to those material objects that are used to construct cinematic worlds. From the domestic bric-?-brac of Sirk's melodramas to the crystal egg of Risky Business, props are the material furniture of cinema's diegetic reality: both narrative agents and the stuff of mise-en-sc?ne. And yet, the prop has rarely been taken as an object of analysis in its own right. This book begins by tracing the prop's curious but unacknowledged role in film theory, before proceeding to a series of theoretical speculations and close readings that bring the prop into focus. Across a variety of genres, modes, and historical contexts--studio filmmaking, art cinema, adult and avant-garde films--Gorfinkel and Rhodes argue that the prop is nothing less than a condensation of how labor, subjection, value, and instrumentality underwrite the very conditions of cinema. Elena Gorfinkel is Reader in Film Studies at King's College London. John David Rhodes is Professor of Film Studies and Visual Culture at the University of Cambridge.Author Biography
Elena Gorfinkel (Author)
Elena Gorfinkel is Reader in Film Studies at King's College London. She is the author of Lewd Looks: American Sexploitation Cinema in the 1960s (Minnesota, 2017) and Wanda (British Film Institute, 2025).
John David Rhodes is Professor of Film Studies and Visual Culture at the University of Cambridge. He is the author of Spectacle of Property: The House in American Film (Minnesota, 2017), Meshes of the Afternoon (British Film Institute, 2011), and Stupendous, Miserable City: Pasolini's Rome (Minnesota, 2007).
Number of Pages: 176
Dimensions: 0.4 x 6.9 x 5 IN
Publication Date: March 04, 2025
