Engaging the moving image

Engaging the Moving Image

Volumn , Issue , 2003, Pages 1-420

  Carroll, Noël ^a  

^a UNIVERSITY OF WISCONSIN   (United States)

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EID: 84902624994     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (188)

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2. Terry Ilot, "Look who's talking (too much)." Variety, 9/9/91, p. 110.
3. Paul Farhi, "And the Oscar for Flop of the Year Goes to . . .," The Washington Post National Weekly Edition, 1/8/96-1/14/96, p. 25.
4. Gladys D. Ganley and Oswald H. Ganley, Global Political Fallout: The VCR's First Decade (Cambridge, Mass.: Center for Information Policy Research-Harvard University, 1987).
5. V. I. Pudovkin, Film Technique and Film Acting, translated by I. Montague (New York: Evergreen Press, 1970), p. 100.
6. Gregory Currie, "The Long Goodbye: The Imaginary Language of Film," British Journal of Aesthetics, 33, 3, July 1993, pp. 207-218.
7. Raymond Spottiswoode, A Grammar of the Film: Basic Film Techniques (London, 1935).
8. Noël Carroll, "Toward a Theory of Film Editing," Millennium Film Journal, no. 3, Winter/Spring 1979, pp. 79-99
9. Umberto Eco, "On the Contribution of Film to Semiotics," in Film Theory and Criticism, edited by Gerald Mast and Marshall, second edition (New York: Oxford University Press, 1979), p. 232.
10. Umberto Eco, "On the Contribution of Film to Semiotics," in Film Theory and Criticism, edited by Gerald Mast and Marshall, second edition (New York: Oxford University Press, 1979), p. 230.
11. Julian Hochberg and Virginia Brooks, "Pictorial Recognition as an Unlearned Ability,"American Journal of Psychology, 75, 1962, pp. 624-628
12. John M. Kennedy, A Psychology of Picture Perception (San Francisco: Jossey-Bass Publishers, 1974), p. 56.
13. Fred Dretske, Explaining Behavior: Reasons in a World of Causes (Cambridge, Mass.: MIT Press, 1988), p. 153.
14. E. H. Hess, "Ethology and Developmental Psychology," in Carmichael's Manual of Child Psychology, edited by P. Mussen (New York: Wiley, 1970).
15. Susan Feagin, "Paintings and their Places," Australasian Journal of Philosophy, vol. 73, no. 2 (June, 1995), p. 264.
16. Jan B. Deregowski, Illusions, Patterns and Pictures: A Cross-Cultural Perspective (New York: Academic Press, 1980).
17. Paul Messaris in Visual Literacy: Image, Mind & Reality (Boulder, Colo.: Westview Press, 1994), pp. 60-64.
18. Gregory Currie, Image and Mind: Film, Philosophy and Cognitive Science (New York: Cambridge University Press, 1995), p. 80.
19. William James, Principles of Psychology (New York: Dover Editions, 1950), vol. 1, pp. 403-404.
20. John Dean on the CNN program Talkback on December 22, 1995.
21. James, Principles of Psychology, on p. 422.
22. James, Principles of Psychology, p. 421.
23. James, Principles of Psychology, p. 420.
24. James, Principles of Psychology, p. 423.
25. David LaBerge, Attentional Processing: The Brain's Art of Mindfulness (Cambridge, Mass.: Harvard University Press, 1995), p. 38.
26. Lev Kuleshov, Kuleshov on Film, translated and edited by Ron Levaco (Berkeley, Calif.: University of California Press, 1974), pp. 44-50.
27. Jerry Mander, Four Arguments for the Elimination of Television (New York: Quill, 1974).
28. Roy Anker, James Bratt, William Romanowski, Quentin Schultze, John Worst, and Lambert Zuidervaart, Dancing in the Dark: Youth, Popular Culture and the Electronic Media (Grand Rapids, Mich.: William B. Eerdmans Publishing Company, 1991), p. 206.
29. Barry Salt, Film Style and Technology: An Analysis, second edition (London: Starwood Press, 1992), p. 263.
30. John Hora, "Cinematographers Publicly Oppose HDTV Standard: The American Society of Cinematographers' Viewpoint," Widescreen Review, vol. 4, no. 6, (November/ December 1995), p. 98
31. Robert Primes, "ASC Message to Japan," Widescreen Review, 4, 6 (November/December 1995), p. 22.
32. John Carey, "Conventions and Meaning in Film," in Film Culture: Explorations of Cinema in its Social Context, edited by Shari Thomas (Metuchen, N.J.: Scarecrow Press, 1982), pp. 110-125
33. Mark Crispin Miller, "Hollywood: The Ad," The Atlantic Monthly, April, 1990, p. 50
34. Paul Messaris, Visual Literacy, pp. 94-96.
35. Renee Hobbs and Richard Frost, "Comprehending Transitional Editing Conventions: No Experience Necessary,", 1989.
36. T. W. Adorno and Max Horkheimer, "The Culture Industry: Enlightenment as Mass Deception," Dialectic of Enlightenment (New York: Continuum, 1990), p. 127.
37. David Williams, "Shooting to Kill," American Cinematographer, volume 76, number 11 (November, 1995), p. 56.
38. David Bordwell, Narration in the Fiction Film (Madison, Wisc.: University of Wisconsin Press, 1985), p. 128.
39. Edward Branigan, Point of View in the Cinema (Amsterdam: Mouton Publishers, 1984), p. 103.
40. Edward Branigan, Point of View in the Cinema (Amsterdam: Mouton Publishers, 1984), p. 111.
41. Daniel Dayan, "The Tutor-Code of Classical Cinema," Film Quarterly, vol. 28, no. 1 (1974), pp. 22-31.
42. George Butterworth and Lesley Grover, "Origins of Referential Communication in Human Infancy," in Thought Without Language, edited by Lawrence Weiskrantz (Oxford: Oxford University Press, 1988), pp. 5-24.
43. Renee Hobbs, Richard Frost, Arthur Davis, and John Stauffer, "How First-Time Viewers Comprehend Editing Conventions," Journal of Communication, 38, 4 (1988), pp. 50-60.
44. Paul Ekman, "Expression and the Nature of Emotion," in Approaches to Emotion, edited by Klaus Scherer and Paul Ekman (Hillsdale, N.J.: Lawrence Erlbaum, 1984), pp. 319-343.
45. S. Tan, Emotion and the Structure of Narrative Film: Film as an Emotion Machine, trans. Barbara Fasting (Mahwah, N.J.: Erlbaum, 1996).
46. William James, "What Is an Emotion?" in Mind 9 (1884): 188-205.
47. Robert Solomon, "The Jamesian Theory of Emotion in Anthropology," in Culture Theory: Essays on Mind, Self and Emotion, ed. Richard A. Shweder and Robert A. LeVine (Cambridge: Cambridge University Press, 1984), 214.
48. Jerome E. Singer, "Cognitive, Social, and Physiological Determinants of State," excerpted in What Is An Emotion?, ed. Cheshire Calhoun and Robert C. Solomon (Oxford: Oxford University Press, 1984), 173-183.
49. Keith Oatley, Best Laid Schemes (Cambridge: Cambridge University Press, 1992), 107-9, 174-77.
50. Flo Leibowitz "Apt Feelings, or Why 'Women's Films' Aren't Trivial," in Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll (Madison: University of Wisconsin Press, 1996).
51. David Pole, "Disgust and Other Forms of Aversion," in his Aesthetics, Form and Emotion, ed. George Roberts (New York: St. Martin's Press, 1983).
52. Noël Carroll, "Toward a Theory of Film Suspense," in Theorizing the Moving Image (Cambridge: Cambridge University Press, 1996)
53. Noël Carroll, "The Paradox of Suspense," in Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations, ed. Peter Vorderer, Hans J. Wulff, and Mike Friedrichsen (Hilldale, N.J.: Erlbaum, 1996).
54. Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis: Hackett, 1987), p. 76.
55. Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis: Hackett, 1987), p. 77.
56. Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis: Hackett, 1987), pp. 83-84.
57. Noël Carroll, The Philosophy of Horror (New York: Routledge, 1990).
58. Noël Carroll, "Horror and Humor," Journal of Aesthetics and Art Criticism 57, no. 2 (Spring 1999): 145-160.
59. Kant, Critique of Judgment, p. 180.
60. Carroll, "Horror and Humor," for a defense of this contrast.
61. L. Perry Curtis, Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971), p. 44.
62. L. Perry Curtis, Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971), p. 43.
63. L. Perry Curtis, Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971), p. 42.
64. L. Perry Curtis, Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971), p. 49.
65. L. Perry Curtis, Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971), p. 59.
66. L. Perry Curtis, Apes and Angels: The Irishman in Victorian Caricature (Washington, D.C.: Smithsonian Institution Press, 1971), p. 63.
67. John Dower, War without Mercy: Race and Power in the Pacific War (New York: Pantheon, 1986), p. 187.
68. John Dower, War without Mercy: Race and Power in the Pacific War (New York: Pantheon, 1986), p. 183.
69. John Dower, War without Mercy: Race and Power in the Pacific War (New York: Pantheon, 1986), p. 182.
70. Frederick Douglass, dated June 14, 1870, reproduced in Katharine Morrison McClinton, Chromolithographs of Louis Prang (New York: Clarkson N. Potter, 1973), p. 37.
71. Jan Nederveen Pieterse, White on Black: Images of Africa and Blacks in Western Popular Culture (New Haven: Yale University Press, 1992), p. 116.
72. Jan Nederveen Pieterse, White on Black: Images of Africa and Blacks in Western Popular Culture (New Haven: Yale University Press, 1992), pp. 40-43.
73. H. P. Lovecraft, "The Shadow over Innsmouth," in The Lurking Fear and Other Stories (New York: Del Rey, 1971), p. 134.
74. Rhona J. Berenstein, "White Skin, White Masks: Race, Gender and Monstrosity in Jungle Horror Cinema," in her Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship (New York: Columbia University Press, 1996), pp. 160-197.
75. Robert E. Howard, "Moon of Zambebwei," Trails in Darkness (Riverdale, N.Y.: Baen Publishing Enterprises, 1996), pp. 203-204.
76. Earl Ofari Hutchinson, "The Negro Beast or in the Image of God," in his The Assassination of the Black Male (Los Angeles: Middle Passage Press, 1994), pp. 7-17.
77. Harry M. Benshoff, Monsters in the Closet: Homosexuality and the Horror Film (Manchester: Manchester University Press, 1997)
78. Noël Carroll, Philosophy of Mass Art (Oxford: Clarendon Press, 1998), pp. 337-338.
79. Richard Wollheim's "Pictorial Style: Two Views," in The Concept of Style, ed. Berel Lang (Ithaca: Cornell University Press, 1987), 183-202.
80. David Bordwell, On the History of Film Style (Cambridge: Harvard University Press, 1998), 244.
81. Monroe Beardsley, Aesthetics: Problems in the Philosophy of Criticism (New York: Harcourt Brace & World, 1958).
82. Noël Carroll, Philosophy of Art: A Contemporary Introduction (London: Routledge, 1999).
83. Noël Carroll, Philosophical Problems of Classical Film Theory (Princeton: Princeton University Press, 1988).
84. V. I. Pudovkin, Film Technique and Film Acting (New York: Grove Press, 1960).
85. André Bazin, What Is Cinema?, trans. Hugh Gray (Berkeley: University of California Press, 1968, 1971).
86. Noël Carroll, "Kracauer's Theory of Film," in Defining Cinema, ed. P. Lehman (New Brunswick: Rutgers University Press, 1997), 111-131.
87. Noël Carroll, "Forget the Medium!," in A Cinema of Ideas, ed. M. Tjarks and F. Tillman (Honolulu: Hawaii Pacific University, 1996), 44-49.
88. V. F. Perkins, Film as film (Baltimore: Penguin Books, 1972).
89. Kendall Walton, "Categories of Art," The Philosophical Review 79 (1970): 334-367.
90. Carol Brownson and Jack Wolf," in Philosophic Exchange: A Journal of SUNY College at Brockport 14 (Winter 1983)
91. Carl Plantinga, "The Mirror Framed: A Case for Expression in the Documentary," in Wide Angle 13, 2 (Summer 1991): 40-53.
92. Noël Carroll, "From Real to Reel: Entangled in Nonfiction Film," in Philosophic Exchange 14 (Winter 1983).
93. Carl Plantinga, "Motion Pictures and the Rhetoric of Nonfiction Film: Two Approaches, Post-Theory: Reconstructing Film Studies, ed. David Bordwell and Noël Carroll (Madison: University of Wisconsin Press, 1996), pp. 307-324.
94. Michael Renov, "Introduction: The Truth about Non-Fiction," in Theorizing Documentary, ed. Michael Renov (New York: Routledge, 1993), p. 3.
95. Michael Renov, "Introduction: The Truth about Non-Fiction," in Theorizing Documentary, ed. Michael Renov (New York: Routledge, 1993), p. 7.
96. Trinh T. Minh-ha's skepticism with respect to the traditional documentary, but since he maintains that the same kind of skepticism echoes throughout his anthology (pp. 7-8).
97. Noël Carroll, "From Real to Reel," pp. 24-26.
98. Noël Carroll, "Interpretation, History and Narrative," The Monist 73, 2 (April 1990).
99. Hayden White, Tropics of Discourse: Essays in Cultural Criticism (Baltimore: Johns Hopkins University Press, 1978)
100. Hayden White, The Content of Form (Baltimore: Johns Hopkins University Press, 1987).
101. White, Tropics of Discourse, pp. 90.
102. Renov, Theorizing Documentary, p. 7.
103. Morton White, Foundations of Historical Knowledge (New York: Harper Collins, 1965)
104. Peter Munz, The Shapes of Time (Middletown, Conn.: Wesleyan University Press, 1977), p. 25.
105. Bill Nichols, Representing Reality (Bloomington: Indiana University Press, 1991), pp. 107-109.
106. Nichols, Representing Reality, p. 195.
107. Nichols, Representing Reality, p. 197.
108. Nichols,, Representing Reality, p. 195.
109. Nichols,, Representing Reality, p. 198.
110. Brian Winston, "The Documentary Film as Scientific Inscription," in Theorizing Documentary, especially pp. 53-55.
111. Paul Rotha, Documentary Film, 2nd edn. (London: Faber, 1952), 70.
112. Brian Winston, Claiming the Real (London: British Film Institute, 1995).
113. Noël Carroll, Philosophical Problems of Classical Film Theory (Princeton: Princeton University Press, 1988).
114. Christian Metz, 'The Imaginary Signifier', Screen, 16: 2 (Summer 1975), 47.
115. Noël Carroll, 'Non-fiction Film and Postmodern Skepticism', in David Bordwell and Noël Carroll (eds.), Post-Theory: Reconstructing Film Studies (Madison: University of Wisconsin Press, 1996).
116. Arthur Danto in his book Connections to the World (New York: Harper & Row, 1989).
117. Monroe Beardsley, 'An Aesthetic Definition of Art', in Hugh Curtler (ed.), What Is Art? (New York: Haven, 1983)
118. Jerrold Levinson, 'Defining Art Historically', in his Music, Art, and Metaphysics (Ithaca, NY: Cornell University Press, 1990).
119. Paul Ricoeur, Time and Narrative, vol. 3 (Chicago: University of Chicago Press, 1985), 180-192.
120. Noël Carroll, 'The Paradox of Suspense', in P. Vorderer, M. Wulff, and M. Friedrichsen (eds.), Suspense: Conceptualizations, Theoretical Analyses and Empirical Explorations (Mahwah, NJ: Lawrence Erlbaum, 1996), 88
121. Kendall L. Walton, Mimesis as Make-Believe', Philosophical Quarterly, 45: 178 (Jan. 1995), 93-99
122. Kendall Walton's Mimesis as Make-Believe', Philosophy and Phenomenological Research, 51: 2 (June 1991), 383-387.
123. John Searle, Expression and Meaning: Studies in the Theory of Speech Acts (Cambridge: Cambridge University Press, 1979), 62.
124. Carl Plantinga in his article 'Defining Documentary: Fiction, Non-fiction, and Projected Worlds', Persistence of Vision, 5 (Spring 1987), 44-54.
125. Noël Carroll, 'Art, Intention, and Conversation', in Gary Iseminger (ed.), Intention and Interpretation (Philadelphia: Temple University Press, 1992).
126. Gregory Currie, "Visible Traces: Documentary Film and the Contents of Photographs," Journal of Aesthetics and Art Criticism, vol. 57, no. 3 (1999).
127. James GleickFaster: The Acceleration of Just About Everything (New York: Pantheon Books, 1999), p. 17.
128. Gregory Currie, "Preserving the Traces: An Answer to Noël Carroll," Journal of Aesthetics and Art Criticism, vol. 58, no. 3 (Summer 2000), pp. 36-308.
129. Jinhee Choi, "A Reply to Currie on Documentaries," Journal of Aesthetics and Art Criticism, vol. 59, no. 3 (Summer 2001), pp. 317-319.
130. Noël Carroll, "On the Narrative Connection," in my Beyond Aesthetics (New York: Cambridge University Press, 2001).
131. Ed Emshwiller, "Artist's Statement," Dance Perspectives 30 (Summer 1967): 25.
132. Noël Carroll, "Defining the Moving Image," in Theorizing the Moving Image (New York: Cambridge University Press, 1996).
133. Roger Copeland, "The Limitations of Cine-Dance," in Filmdance: 1890's-1983 (New York: Filmdance Festival, 1983), p. 11.
134. André Bazin, What Is Cinema? (Berkeley: University of California Press, 1971), Vol. I.
135. Richard Lorber, "Experiments in Videodance," Dance Scope 12, 1 (Fall/Winter, 1977/78): 8.
136. Noël Carroll, Philosophy of Art: A Contemporary Introduction (London: Routledge, 1999), Chapter Five, pp. 249-264.
137. Noël Carroll, "The Power of Movies," in Theorizing the Moving Image, pp. 75-93.
138. Li Chiao-Ping, "The Director/Choreographer Dialectic," Dance for the Camera Symposium, University of Wisconsin-Madison, February 10, 2000.
139. Jerrold Levinson, The Pleasures of Aesthetics (Ithaca, N.Y.: Cornell University Press, 1996), p. 188.
140. Gregory Currie, Image and Mind: Film, Philosophy and Cognitive Science (Cambridge: Cambridge University Press, 1996).
141. Noël Carroll, "Defining the Moving Image," in my Theorizing the Moving Image (Cambridge: Cambridge University Press, 1996).
142. Gregory Currie, "Reply to My Critics," Philosophical Studies 89 (1998), p. 356.
143. Siegfried Kracauer, The Mass Ornament, trans. Thomas Levin (Cambridge: Harvard University Press, 1995).
144. Dudley Andrew, "Siegfried Kracauer," in his book The Major Film Theories (Oxford: Oxford University Press, 1976), 106.
145. Pauline Kael, "Is There a Cure for Film Criticism? Or: Some Unhappy Thoughts on Siegfried Kracauer's Nature of Film," Sight and Sound 31, no. 2 (Spring 1962).
146. André Bazin, What Is Cinema? trans. Hugh Gray (Berkeley: University of California Press, 1967), vol. 1.
147. Noël Carroll, Philosophical Problems of Classical Film Theory (Princeton: Princeton University Press, 1988).
148. Lev Kuleshov, Kuleshov on Film, trans. Ronald Levaco (Berkeley: University of California Press, 1975).
149. V. F. Perkins, Film as Film (Baltimore: Penguin, 1972).
150. Andrew Tudor's useful "Aesthetics of Realism: Bazin and Kracauer" for an alternative, though compatible, way of setting out Kracauer's argument in Theories of Film by Andrew Tudor (London: Secker and Warburg in association with the British Film Institute, 1974), 84.
151. Noël Carroll, Theorizing the Moving Image (New York: Cambridge University Press, 1996).
152. Miriam Hansen, "Decentric Perspectives: Kracauer's Early Writings on Film and Mass Culture," New German Critique, no. 54 (Fall 1991).
153. Hugo Münsterberg, Film: A Psychological Study (New York: Dover, 1970).
154. Vance Kepley, "The Evolution of Eisenstein's Old and New," Cinema Journal vol. 14, no. 1 (Fall 1974): 34-50.
155. Karl Marx and Frederick Engels, The German Ideology (Moscow: Progress Publishers, 1968).
156. Lee Holdreth, Constance Penley, and Andrew Ross [Bloomington: Indiana University Press, 1987], pp. 73-107.
157. R. W. Davies, The Industrialisation of Soviet Russia 1: The Socialist Offensive: The Collectivisation of Soviet Agriculture, 1929-1930 (Cambridge, Mass.: Harvard University Press, 1980), p. 38.
158. Noël Carroll, "For God and Country," Artforum vol. 11, no. 5 (January 1973): 56-60
159. Annette Michelson, "Reading Eisenstein Reading Capital," October no. 2 (Summer 1976): 27-38.
160. Annette Michelson, "Reading Eisenstein Reading Ulysses: Montage and the Claims of Subjectivity," Art & Text no. 34 (Spring 1989): 64-78.
161. S. M. Eisenstein, "The Fourth Dimension in Cinema," in Eisenstein, Selected Works, Vol. I, pp. 181-194.
162. Leonid Trauberg, "An Experiment Intelligible to the Millions" in Taylor and Christie, Film Factory, pp. 250-251.)
163. Noël Carroll, "Causation, the Ampliation of Movement and Avant-Garde Film," Millennium Film Journal nos. 10/11 (Fall/Winter 1981-1982): 61-82
164. Noël Carroll, Theorizing the Moving Image (Cambridge: Cambridge University Press, 1996), pp. 169-186.
165. Eisenstein and Alexandrov, "An Experiment," p. 255.
166. David Bordwell discusses montage-in-the-single-shot (mise en cadre) in The Cinema of Eisenstein, pp. 150-155.
167. Maxim Gorkii, "On little men and their great work," in his O literature (Moscow, 1955)
168. Katerina Clark, "Little Heroes and Big Deeds," in Cultural Revolution in Russia, 1928-1931, ed. Sheila Fitzpatrick (Bloomington, Ind.: Indiana University Press, 1978), p. 191.
169. Sergei Eisenstein and Grigori Alexandrov, "Vostorzhennye budni [Enthusiastic Workdays]," Rabochaia Moskva, 22 February 1929
170. Karl Marx and Friedrich Engels, The Communist Manifesto, ed. Joseph Katz, trans. Samuel Moore (New York: Washington Square Press, 1964), p. 65.
171. Robert Leach, Revolutionary Theatre [London: Routledge, 1994], pp. 52-54
172. Konstantin Rudnitsky, Russian and Soviet Theater, 1905-1932, ed. Lesley Milne, trans. Roxane Permar [New York: Abrams, 1988], pp. 48-49.)
173. Yuryi Mateevich Sokolov, Russian Folklore (1938), trans. Catherine Ruth Smith (Hatboro, Penn.: Folklore Associates, 1966), p. 425.
174. Eric Hobsbawm, "Introduction: Inventing Traditions," in The Invention of Tradition, ed. Eric Hobsbawm and Terence Ranger (Cambridge: Cambridge University Press, 1983), pp. 1-14.
175. Richard Slotkin, Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America (New York: Atheneum, 1992), pp. 435-440.
176. Will Wright, Six Guns and Society: A Structural Study of the Western (Berkeley: University of California Press, 1975).
177. John A. Brittan, Revolution and Ideology: Images of the Mexican Revolution in the United States (Lexington: University of Kentucky Press, 1995).
178. David Montejano, Anglos and Mexicans in the Making of Texas, 1836-1986 (Austin: University of Texas Press, 1987) and Arnoldo De Leon, They Called Them Greasers (Austin: University of Texas Press, 1983).
179. Noël Carroll, 'Film, Rhetoric and Ideology', in Salim Kemal and Ivan Gaskell (eds) Explanation and Value in the Arts (Cambridge: Cambridge University Press, 1993).
180. Sally Banes, "Dance, Emotion, Film: The Case of Yvonne Rainer,"Humanities Institute of New York University in April 1999.
181. Annette Michelson "autoanalytical" in her pioneering article "Yvonne Rainer, Part I: The Dancer and The Dance," in Artforum, vol. 12, no. 5 (January 1974), p. 58.
182. Sally Banes, Dancing Women: Female Bodies on Stage (London: Routledge, 1998), p. 223.
183. Yvonne Rainer (Baltimore: Johns Hopkins University Press, 1999), p. 13.
184. B. Ruby Rich, "Yvonne Rainer: An Introduction," in The Films of Yvonne Rainer, p. 6.
185. Bryan Vescio, "Reading in the Dark: Cognitivism, Film Theory, and Radical Interpretation," Style, vol. 35, no. 4 (Winter 2001), pp. 572-589
186. Malcolm Turvey, "Can Science Help Film Theory?" in the online Cinema Journal (www.uca.edu/orgccsmi/journal(New York: Routledge, 1995), pp. 33-48.
187. Slavoj Zizek, The Fright of Real Tears: Krzsztof Kieslowski between Theory and Post-Theory (London: BFI Publishing, 2001), pp. 14-16.
188. Sebastiano Timpanaro, The Freudian Slip: Psychoanalysis and Textual Criticism (Atlantic Highlands, N.J.: Humanities Press, 1976), p. 39.