The violence of a perfect moment

Violence and American Cinema

Volumn , Issue , 2013, Pages 47-62

  Charney, Leo ^a  

^a NONE

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[No Author keywords available]

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EID: 85073850342     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203700570-9     Document Type: Chapter

References (27)

1. Anthony Lane, “Holy Fools,” The New Yorker, April 14, 1997, 88.
2. Mark Singer, “The Joel Silver Show,” New Yorker, March 21, 1994, 128 and 129.
3. Leo Charney, Empty Moments: Cinema, Modernity, and Drift (Durham, N.C.: Duke University Press, 1998), esp. 30-42.
4. Sigmund Freud, Beyond the Pleasure Principle, trans. James Strachey, in Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 18 (London: Hogarth, 1955), 14.
5. David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York:Columbia University Press, 1985).
6. Bosley Crowther, New York Times, August 14, 1967, 36.
7. David Denby, “Masquerade,” New York Magazine, July 14, 1997, 48.
8. Anthony Lane, “Current Films,” New Yorker, July 27, 1997, 18.
9. Tom Gunning, “The Cinema of Attraction(s): Early Film, Its Spectator and the Avant-Garde,” Wide Angle 8, nos. 3-4 (1986): 63-70.
10. Tom Gunning, “An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator,” Art and Text 34 (spring 1989): 38.
11. Tom Gunning, "‘Now You See It, Now You Don’t’: The Temporality of the Cinema of Attractions,” Velvet Light Trap 32 (fall 1993): 6-7.
12. Miriam Hansen, “Early Cinema, Late Cinema: Permutations of the Public Sphere,” Screen 34, no. 3 (fall 1993): 200.
13. Sergei Eisenstein, “A Dialectic Approach to Film Form,” in Film Form, ed. and trans. Jay Leyda (New York: Harcourt Brace, 1949): 46.
14. David Bordwell, “Eisenstein’s Epistemological Shift,” Screen 15, no. 4 (1975):29-46.
15. Lynne Kirby, Parallel Tracks: The Railroad and Silent Cinema (Durham, N.C.:Duke University Press, 1997): 57-63.
16. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken Books, 1969);
17. Siegfried Kracauer, “Cult of Distraction: On Berlin’s Picture Palaces,” in The Mass Ornament: Weimar Essays, ed. and trans. Thomas Y. Levin (Cambridge, Mass.: Harvard University Press, 1995).
18. Gunning, “An Aesthetic of Astonishment,” 41.
19. Owen Gleiberman, “Big Bang Theory,” Entertainment Weekly, March 28, 1997: 51.
20. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press, 1960), 213.
21. Dana Polan, “Brief Encounters: Mass Culture and the Evacuation of Sense,” in Studies in Entertainment, ed. Tania Modleski (Bloomington: Indiana University Press, 1986), 179.
22. Dana Polan, "‘Above All Else to Make You See’: Cinema and the Ideology of Spectacle,” in Postmodernism and Politics, ed. Jonathan Arac (Minneapolis:University of Minnesota Press, 1986), 61.
23. Singer, “The Joel Silver Show,” 128.
24. Henry Jenkins, What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic (New York: Columbia University Press, 1992);
25. Eileen Bowser, ed., The Slapstick Symposium (Brussels: Fédération Internationale des Archives du Film, 1987)
26. Donald Crafton, “The Pie and the Chase: Gag, Spectacle, and Narrative in Slapstick Comedy.”
27. Owen Gleiberman, “The Bugs of War,” Entertainment Weekly, November 7, 1997, 54.