So many fragments, so many beginnings, so many pleasures: The neglected detail(s) in film theory

Criticism

Volumn 45, Issue 2, 2003, Pages 173-195

  Wadia, Rashna ^a  

^a UNIVERSITY OF FLORIDA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950249999     PISSN: 00111589     EISSN: 15360342     Source Type: Journal    
DOI: 10.1353/crt.2004.0004     Document Type: Review

References (48)

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2. René Crevel, "Battlegrounds and Commonplaces," in Hammond, 57
3. Salvador Dalí, "Abstract of a Critical History of the Cinema," in Hammond, 63
4. Robert B. Ray, How a Film Theory Got Lost and Other Mysteries in Cultural Studies (Bloomington: Indiana University Press, 2001), 12
5. The Avant-Garde Finds Andy Hardy (Cambridge, Mass.: Harvard University Press, 1995)
6. Roland Barthes, "Change the Object Itself: Mythology Today," in Image-Music-Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 166
7. Christian Metz, Film Language: A Semiotics of the Cinema (New York: Oxford University Press, 1974)
8. Roland Barthes, Roland Barthes, trans. Richard Howard (New York: Hill and Wang, 1977), 54
9. Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Farrar, Strauss and Giroux, 1975), 56
10. Roland Barthes, S/Z, trans. Richard Miller (New York: Farrar, Strauss and Giroux, 1974), 12
11. Réda Bensmaia, "Roland Barthes: From Fragment to 'Detail,'" trans. William Smock, Enclitic 5 (Spring 1981): 71
12. Louis Aragon, "On Décor," in Hammond, 52
13. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1980), 27
14. Dashiel Hammett, The Maltese Falcon (Reprint 1931; San Francisco: North Point Press, 1984), 78
15. Sigmund Freud, "On Beginning the Treatment," in The Freud Reader, ed. Peter Gay (New York: Norton, 1989), 372
16. Billy Wilder's Double Indemnity (1944)
17. Jacques Toumeur's Out of the Past (1947)
18. Christine Gledhill, "Klute 1: A Contemporary Film Noir and Feminist Criticism," in Women in Film Noir, ed. E. Ann Kaplan (London: BFI, 1978)
19. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (New York: Viking Press, 1971), 26
20. André Bazin, in Cahiers du Cinema: The 1950s, ed. Jim Hillier (Cambridge, Mass.: Harvard University Press, 1985), 99
21. Ezra Goodman, Bogey: The Good-Bad Guy (New York: Lyle Stuart, Inc., 1965), 29
22. François Truffaut, Hitchcock (New York: Simon and Schuster, 1967), 184-85
23. Brian McHale, Constructing Postmodernism (New York: Routledge, 1992), 254
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25. Lawrence Grobel, The Hustons (New York: Charles Scribner's Sons, 1989), 221
26. Lee Edelman, "Plasticity, Paternity, Perversity: Freud's Falcon, Huston's Freud," American Imago 51, 1 (1994): 80
27. Richard T. Jameson, "John Huston," in Perspectives on John Huston, ed. Stephen Cooper (New York: G. K. Hall, 1994), 37
28. Slavoj Žižek, "Hitchcockian Sinthoms," in Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock) ed. Slavoj Žižek (London: Verso, 1992), 126
29. Henri Bergson, An Introduction to Metaphysics, trans. T. E. Hulme (New York: G. P. Putnam's Sons, 1912), 7
30. Alfred Kinsey, et al., Sexual Behavior in the Human Psyche (Philadelphia: Saunders, 1948)
31. Alfred Hitchcock's Strangers on a Train (1951)
32. Robert J. Corber, "Hitchcock's Washington: Spectatorship, Ideology, and the 'Homosexual Menace' in Strangers on a Train," in Hitchcock's America, eds., Jonathan Freedman and Richard Millington (New York: Oxford University Press, 1999)
33. James Naremore, More Than Night: Film Noir in Its Contexts (Berkeley: University of California Press, 1998), 98
34. Slavoj Žižek, Looking Awry: An Introduction to Jacques Lacan through Popular Culture (Cambridge, Mass.: MIT Press, 1992), 176
35. The Surrealist Group, "Data toward the Irrational Enlargement of a Film: The Shanghai Gesture," in Hammond, 121
36. Peter P. Gillis, "An Anomaly in The Maltese Falcon," ANQ 8, 3 (Summer 1995): 31
37. Slavoj Žižek, Enjoy Your Symptom!: Jacques Lacan in Hollywood and Out (New York: Routledge, 2000), 155
38. Marjorie Rosen, Popcorn Venus (New York: Avon Books, 1974), 83
39. Tom Gunning, "The Cinema of Attraction: Early Film, Its Spectator, and the Avant-Garde," Wide Angle 8, 3-4 (1985): 65
40. Noël Burch, To the Distant Observer: Form and Meaning in the Japanese Cinema (Berkeley: University of California Press, 1979), 114
41. Lesley Brill, John Huston's Filmmaking (Cambridge: Cambridge University Press, 1997), 153
42. Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Metropolitan Books, 1988), 310-11
43. Gilles Deleuze, Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), 81
44. John Anderson "The World of The Maltese Falcon," Southwest Review 73, 3 (Summer 1998): 385
45. Andrew Sarris, The American Cinema: Directors and Directions 1929-1968 (New York: E. P. Dutton, 1968), 156
46. James Naremore, "John Huston and The Maltese Falcon," in Reflections in a Male Eye: John Huston and the American Experience, eds. Gaylyn Studlar and David Desser (Washington: Smithsonian Institution Press, 1993), 120
47. Susan Sontag, "Notes on Camp," A Susan Sontag Reader (New York: Vintage Books, 1964), 109
48. Woody Allen's Play It Again, Sam (1972)