'Get ready for rush hour': The chronotope in action

The Action and Adventure Cinema

Volumn , Issue , 2004, Pages 103-118

  Flanagan, Martin ^a  

^a UNIVERSITY OF BOLTON   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950430102     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203645154     Document Type: Chapter

References (31)

1. André Bazin What Is Cinema? Volume II, trans. by Hugh Gray, London: University of California Press, 1972, p. 143.
2. Mikhail Bakhtin 'Forms of Time and of the Chronotope in the Novel', in Michael Holquist (ed.) The Dialogic Imagination: Four Essays, trans. by Caryl Emerson and Michael Holquist, Austin: University of Texas Press, 1994, p. 243.
3. Larry Gross 'Big and Loud', Sight and Sound, 5: 8, August 1995, p. 7.
4. For a consideration of the repercussions, both positive and negative, of the mid-70s rebirth of the 'blockbuster', see Thomas Schatz 'The New Hollywood', in Jim Collins, Hilary Radner and Ava Preacher Collins (eds) Film Theory Goes to the Movies, London: Routledge, 1993, pp. 8-36.
5. The economic and institutional dimensions of this transition are further discussed in Richard Maltby 'Nobody Knows Everything: Post-Classical Historiographies and Consolidated Entertainment', in Steve Neale and Murray Smith (eds) Contemporary Hollywood Cinema, London: Routledge, 2000, pp. 21-44.
6. See Mikhail Bakhtin 'Discourse in the Novel', in The Dialogic Imagination, pp. 259-422.
7. Bakhtin 'Forms', pp. 253-7.
8. Christian Metz Film Language: A Semiotics of the Cinema, trans. by Michael Taylor, New York:Oxford University Press, 1974, p. 9.
9. Bakhtin 'Forms', p. 146.
10. Sue Vice Introducing Bakhtin, Manchester: Manchester University Press, 1997, p. 201.
11. For a discussion of how Bakhtin's chronotopic category of the road can be applied to cinema, and specifically the road movie genre, see Vice Introducing Bakhtin, pp. 210-18.
12. M. M. Bakhtin Problems of Dostoevsky's Poetics, ed. and trans. by Caryl Emerson, Minneapolis:University of Minnesota Press, 1997, p. 169.
13. Bakhtin 'Forms', p. 257. Italics in original.
14. Bakhtin 'Forms', pp. 88, 90, 94, 105. Italics in original.
15. John Baxter Steven Spielberg: The Unauthorized Biography, London: Harper Collins, 1997, p. 343.
16. Katerina Clark and Michael Holquist Mikhail Bakhtin, Cambridge, MA: Belknap Press, 1984, p. 279.
17. Bakhtin 'Forms', p. 90.
18. Christian Metz Psychoanalysis and Cinema, trans. by Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti, London: Macmillan, 1994, p. 64.
19. Bakhtin 'Forms', p. 95.
20. Yvonne Tasker 'Dumb Movies for Dumb People: Masculinity, the Body and the Voice in Contemporary Action Cinema', in Steven Cohan and Ina Rae Hark (eds) Screening the Male, London: Routledge, 1995, p. 234.
21. Tasker 'Dumb Movies', p. 233.
22. Bakhtin 'Forms', p. 153.
23. See Tasker 'Dumb Movies', p. 239.
24. Bakhtin 'Forms', pp. 95, 105. Italics in original.
25. Noël Burch Theory of Film Practice, London: Secker and Warburg, 1973, p. 21. Italics in original.
26. Bakhtin 'Forms', p. 106.
27. Charles Musser Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, Oxford: University of California Press, 1991, pp. 260-4.
28. Marshall Julius Action! The Action Movie A-Z, London: B. T. Batsford, 1996, pp. 192-3.
29. Clark and Holquist Mikhail Bakhtin, p. 279.
30. Bakhtin Problems of Dostoevsky's Poetics, p. 106.
31. Bakhtin 'Forms', p. 94.