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Part 1. Structures of Filmic Narrative Introduction: The Saussurian Impulse and Cinema Semiotics1. Classical Hollywood Cinema: Narrational Principles and Procedures, by David Bordwell2. Problems of Denotation in the Fiction Film, by Christian Metz3. Segmenting/Analyzing, by Raymond Bellour4. The Obvious and the Code, by Raymond Bellour5. The Spectator-in-the-Text: The Rhetoric of Stagecoach, by Nick Browne6. Godard and Counter-Cinema: Vent d' Est, by Peter Wollen7. The Concept of Cinematic Excess, by Kristin Thompson8. Uncoded Images in the Heterogeneous Text, by Deborah LindermanPart 2: Subject, Narrative, Cinema Introduction: Text and Subject9. Diderot, Brecht, Eisenstein, by Roland Barthes10. Theory and Film: Principles of Realism and Pleasure, by Colin MacCabe11. Visual Pleasure and Narrative Cinema, by Laura Mulvey12. Voyeurism, The Look, and Dwoskin, by Paul Willemen13. Suture (excerpts), by Kaja Silverman14. Ellipsis on Dread and the Specular Seduction, by Julia Kristeva15. The Imaginary Signifier (excerpts), by Christian MetzPart 3: Apparatus Introduction16. Ideological Effects of the Basic Cinematographic Apparatus, by Jean-Louis Baudry17. The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema, by Jean-Louis Baudry18. The Silences of the Voice, by Pascal Bonitzer19. The Voice in the Cinema: The Articulation of Body and Space, by Mary Ann Doane20. Acinema, by Jean Fran ois Lyotard21. Through the Looking-Glass, by Teresa de LauretisPart 4: Textuality as Ideology Introduction22. Narrative Space, by Stephen Heath23. Technique and Ideology: Camera, Perspective, Depth of Field (Parts 3 and 4), by Jean-Louis Comolli24. John Ford's Young Mr. Lincoln, by Editors of Cahiers du cin ma25. Primitivism and the Avant-Gardes: A Dialectical Approach, by No l Burch26. Film Body: An Implantation of Perversions, by Linda Williams27. Primary Identification and the Historical Subject: Fassbinder and Germany, by Thomas Elsaesser