1015 © the Author(S) 2019 N. Carroll Et Al. (Eds.), the Palgrave

Home , Nowhere in Africa, Shaft in Africa

Index1

NUMBERS AND SYMBOLS Absence, 7–9, 80, 166, 167, 190, 192, #100humans, 41 194–199, 262, 289, 337, 371, 373, #MeToo movement, 654, 673 472n30, 484, 521, 582, 588, 594, 8½, 545 634, 655, 657, 666, 682, 683, 727, 23, 62n46, 179n21, 238n3, 266n26, 728, 748, 770, 785, 856, 910, 923, 273n57, 357n1, 382n7, 385n15, 932, 938, 951, 955, 968, 971n2, 394n48, 411n11, 436n128, 553, 985, 1005 621n48, 724n6, 729n20, 752n101, Absurd Imaginings, 110–114 840, 868, 942n39 Academy Award, 88 7 Up, 250 Action movie, 335 8mm, 77 Action-oriented, 123, 524 16mm, 77 Action time, 369 25th Hour, 125 Active male gaze, 942 35mm, 77 Activist, 77, 643, 695, 706, 712, 717 51 Birch Street, 630 The Act of Killing, 493, 504–507, 360° video camera, 996 506n14, 634, 635n18 400 Blows, 253 ACT UP, 705, 717 500 Days of Summer, 249 Actor, 22, 73, 79, 86, 92, 112, 193, 210, 1080 Bruxelles, 868 242, 244, 298, 311, 348, 523, 616, 2001: A Space Odyssey, 803 680, 690, 851, 852, 860 Actualist, 807 Adair, Peter, 715 A Adam’s Rib, 349, 350 Abell, Catherine, 72, 73, 75, 84 Adaptation, 554–556, 823–841, 829n5, Abraham, A., 906 829n6 Abrams, M.H., 551, 553 Addison, Joseph, 412

1 Note: Page numbers followed by ‘n’ refer to notes.

Adorno, Theodor W., 316–327, 330, Allegory, 491, 685, 687, 691, 692 332, 354, 441, 767, 768, 805, 960 Allegory of the cave, 926 The Adventure of Prince Achmed, 170 Allen, Woody, 362, 373, 498, 546 Adventures of Huckleberry Finn, 112 Almond, Brenda, 260, 274, 275 Aesthetic attitude, 298, 817, 818, Alperson, Philip, 120 962, 967 Also Sprach Zarathustra, 803 Aesthetic bankruptcy, 960 Althusser, Louis, 240, 278, 441, 442, Aesthetic criticism, 410, 415–417, 446, 447, 453, 455, 643, 420, 422, 425, 428, 429, 431, 711n23, 924 433, 434, 436 Althusserian, 365, 383, 384, 443, 452 Aesthetic description, 419 Altman, Robert, 77, 239, 546, 814 Aesthetic experience, 737 The Amazing Spiderman, 130 Aesthetic qualities, 223, 413, 416, 424, Amazon Prime, 985 457, 528, 529, 576n12, 678, 691, American avant-garde, 561, 565–567, 696, 827, 983 569, 639, 640 Aesthetics, 72n4, 339, 357n1, 410, American film, 544, 546, 569, 695, 720, 687–688, 735, 959–968 923, 997 Aesthetics of Race, 687–688 The American Friend, 330 Aesthetic thinking, 537 The American Museum of the Moving Aesthetic value, 75, 327, 360, 410, 416, Image (Museum of the Moving 416n32, 424, 425, 430, 576, 598, Image), 982 954, 955, 959, 961, 963, 968, 989 American Society Affect, 387n24, 395, 401–402, 413n21, of Cinematographers, 89 893–915 American Werewolf in London, 104 Affective contagion, 860 Amores perros, 868 Affective empathy, 902 Amour, 508–510 Affective matching, 399 Analogue, 171, 174, 182–186, 363, 568, Affective response, 854–858 595–597, 826, 830, 897, 941 Affective states, 894–899 Analysand, 631, 924, 928–933, 935, Africa myths, 692 939–943 African Americans, 718 Analyst, 423, 446, 585, 631, 925–931, African-centered cinema, 687 933–936, 939–940 African popular music, 687 Analytic, 100, 237–280, 261n9, 262n11, Agamben, Giorgio, 276–278 273n58, 276n75, 279n85, 357–377 Aggression, 151, 724, 750, 910, 914 Analytical judgments, 341 Aguirre: The Wrath of God, 250 Analytic-cognitivist, 454, 456 AIDS, 705–708, 717, 761 Analytic Philosophy, 12n18, 237–258, Ailes, Roger, 771 260n3, 263n14, 266n25, 360n17, Aizura, Aren Z., 712 361n22, 367n42, 367n47, 371–376 Akerman, Chantal, 631n15, 637, 868 Analytic-synthetic distinction, 338 Albritton, Rogers, 339 Anderson, Barbara, 386 Alekan, Henri, 71, 80 Anderson, Hans Christian, 788 Algeria, 449 Anderson, Joseph D., 271, 386, Ali, Muhammad, 695 392, 395 Alien, 364n35, 474, 531–533, 546 Andrade, E., 911 Alien Resurrection, 532 Andre, Carl, 597 Alignment, 398 Andrews, David, 725 All About Eve, 72 Anémic Cinéma, 574, 716 Allegiance, 398 Anger, Kenneth, 565, 707 INDEX 1017

Anglo-American, 261, 261n9, 262, 269, Aronofsky, Darren, 814–815 274, 354 Arousal, 904–908 Anglophone, 261, 262, 264, 270, 441, Arrival, 123, 813 444, 446, 515, 520, 923, 924, 943 Arrival of a Train at La Ciotat, 761 Animated cinema, 165, 166, 168, 169, Art, 43, 44, 44n6, 71–91, 174n12, 180, 171–178, 180–182, 185 199, 318, 319, 347, 357–377, Animated film, 180, 371 357n1, 433n110, 553, 574, 605n4, Animation, 73, 165–186 721–755, 734n35, 783–799, Annie Hall, 847 801–819, 914, 954–959, 979–983, Anomalisa, 170, 182, 182n31, 499–504 995–1014 Anscombe, G.E.M., 263 Artaud, Antonin, 523–525, 528, 564 Anthology Film Archives, 702 Art cinema, 253, 254, 392, 561, 566, 886 Anthropomorphism, 528 Art films, 4, 247, 258, 543, 754, 882, Anti-cognitivist, 472, 473, 486 914, 974 Anti-empiricist, 179 Artform, 516, 801, 808, 811, 818, 981 Anti-humanism, 449 Art-house, 366 Anti-philosophy, 517 Arthur, Paul, 631 Anti-segregationist, 771 Artifact emotions, 402 Antithese, 326 Artifacts, 49, 64, 66, 102, 217, 331, Antoinette, Marie, 613, 614 402, 586, 587, 721, 722, 726, 727, Antonioni, Michelangelo, 82, 253, 324, 733, 736, 739, 743, 746, 776, 849, 364, 370, 522, 543, 545, 546, 560, 966, 985–987, 1009 610, 849 Artistic evaluation, 24, 36, 956 Any-instant-whatever, 461 Artistic medium, 31, 43, 173, 371, 377, Anzaldúa, Gloria, 703 520, 754, 796–798 Apartheid, 678, 679 Artistic properties, 36, 37, 89, 956 Aperture, 76, 82–84, 244, 245 Artistic value, 174, 190, 193, 194, 233, Apocalypse Now, 88, 190, 804, 836 722, 729, 754, 956, 989 Appearance property, 60, 61, 67 Arts of sound, 813–815, 818 Appraisal, 32, 33, 37, 401, 424, 662, Artworld, 25n36, 243 663, 859, 895, 897, 898, 905, 908, Arzner, Dorothy, 703 914, 1004 Ashley, Kaitlyn, 728 A priori, 100 Ashton, Fredrick, 788, 789 Apted, Michael, 250 Asian, 366, 695 Apuleius, 693 Asian Americans, 695 Arabic, 695 Aspect ratio, 374 Arcade cabinet, 977 Aspectual identification, 869 The Archers, 788–795, 797, 798 The Asphalt Jungle, 229 Architectural plans, 223–225 Assertion Argument, 105 Arc lamps, 83, 84 Assertoric intention, 619, 620, 624, 637, Arendt, Hannah, 506–507 644, 645 Argumentative discourse, 520, 667 Assertoric objective intention, 620 Aristotle, 110, 247, 249, 294, 548, 552, Associationism, 268 579, 808n32, 829n5, 837, 909, 910 Astaire, Fred, 239 Arjoranta, Jonne, 974 Astruc, Alexander, 640 Arnheim, Rudolph, xxv, 29–31, 36–38, Asymmetrical relationships, 400, 877 174, 180, 192, 193, 238, 241, 248, Atencia-Linares, Paloma, 203n53 258, 359, 432, 544, 546, 605n4, Attias, Dan, 547 795, 809 Attic tragedy, 925 1018 INDEX

Attunement, 305 Ball, Alan, 218 Audience-oriented, 535, 579 Ballad of Buster Scruggs, 803 Audiovisual, 133, 221, 382, 395–398, The Ballad of Fisher’s Boarding House, 554 402, 429, 443, 445n17, 456, 463, Ballet Russe de Monte Carlo, 788 493, 507, 516, 518, 520, 575, 684, Ballets Russes, 788, 789, 789n16 811, 949, 951, 954, 973, 1002 Bambi, 174 Audition (sound), 122, 209, 794, 801, Bancroft, Dustin, 851 808n32, 809, 812 Bandwagon, 430, 764, 765 Augmented reality (AR), 976, 977, Bannf Center, 999 1000, 1001 Bantinaki, K., 911, 912 Augustinian, 645 Baracco, Alberto, 268 Au Hasard Balthazar, 909 Barber, Lesley, 804 Aura, 319, 320, 322, 325, 565, 609, 883 Barbie, 751 Auratic dimension, 613 Barker, Clive, 681 Auratic quality, 319 Barker, Jennifer, 268n31, 1008 Austen, Jane, 478 Baroque, 587 Austin, J.L., 338, 354, 750, 751, 778 Barratt, D., 904 Australia, 679, 761, 765 Barrett, L. F., 896, 898 Auteur Theory, 543–546 Bartel, Christopher, 745 Authorial intent, 726 Bartenieff, Irmgard, 150, 156 Autobiographical act, 628, 638–648 Barthes, Roland, 240, 278, 376, 427, Autobiographical documentary, 627–648 441, 442, 444, 446, 451, 452, 457, Autobiographical film, 604 643 Automata, 783–799 Barthesian semiotics, 383 Automatic imitation, 871 Bartsch, A., 902 Automatism, 783–799 Bass, Saul, 549 Automediality, 628 Bates, Norman, 290, 936 Autonomist, 989 The Battle of Algiers, 46, 909 Autonomous processes, 878 Battleship Potemkin, 370, 703n11 Autonomy, 256, 317, 318, 324, 328, Batty, Craig, 216 371, 448, 454 Baudrillard, Jean, 441, 443, 443n8, 444, Avant-garde, 40, 573–576 451 Avatar, 987, 991, 996, 1004, 1005, Baudry, Jean-Louis, 867, 937, 938, 1011–1013 940–943 The Avengers, 73, 954 Baum, L. Frank, 718, 719 Averill, J. R., 897 Baxandall, Michael, 179 The Awful Truth, 349–351, 354n45 Baynes, Pauline, 488 Bazin, André, xxv, 10, 11, 29, 35, 37, 83, 174, 238n3, 241, 242, 258, B 267, 297, 303, 308, 324, 354, 359, Baby’s Lunch, 761 433, 521, 785, 786, 788, 790, 794, Bachelard, Gaston, 271, 272 795 Badiou, Alain, 5n3, 274, 276, 278, Beardsley, Monroe, 111n19, 416, 423, 279n85 424, 733 Baker, Annie, 797–798 Beatty, Warren, 88 Baker, Sean, 670, 673 Beaupré, M. G., 900 Balázs, Béla, 29, 193, 515, 528 Bechara, A., 905 Baldwin, James, 703–704, 711n33 Beecham, Sir Thomas, 789 INDEX 1019

Behavioral, 846, 856–858, 897, Bitmap, 184 898, 1011 Black, Noel, 933 Behind the Green Door, 728 Black aesthetics, 687, 691 Being and Time, 271n49, 300, 301 Black-and-white stock, 75 Being John Malkovich, 503, 829n6 Blackburn, Simon, 276 Being-in-the-world, 277, 301–303, Black communities, 679 305, 306 Black diaspora, 690 Belief, 389n32 Black feminist cinema, 682 Belief-like imagining, 847 Black male, 679, 680, 682 Bell, Chris, 707 Black music, 687 Bell, Michael, 418, 426 Black Orpheus, 691 Bellamy, Ralph, 352 Black Panther, 692, 693 The Belle of Amherst, 112 Black people, 679, 687, 689, 878 Bellour, Raymond, 453 Black performer, 719 Benayoun, Maurice, 999 Black viewer, 689 Benjamin, Walter, 273, 316, 319–323, Black women, 657, 660, 664, 680 325, 326, 328, 330, 332, 441 Blade Runner, 301, 362, 363, 377, 488, Bensmaïa, Réda, 444, 445 493, 823n1 Beowulf (poem), 18 The Blair Witch Project, 606 Berger, John, 273, 769 Blais, C., 561 Bergman, David, 703 Blake, William, 831 Bergman, Ingmar, 257n67, 362, 583 Blanchet, Robert, 956n16, 957, 959 Bergman, Ingrid, 115, 353, 612 Blanchot, Maurice, 525 Bergson, Henri, 271, 272, 459–461, Blanke, Olaf, 1006, 1009 528, 591 Blaxploitation, 682, 689 Bergsonian, 458, 460–463, 594 Blazing Saddles, 11, 13, 16, 26 Bergsonian/Deleuzian, 461 Block, Doug, 630, 631 Berlant, Lauren, 709, 709n24 Blockbusters, 7, 9, 34, 364, 692, 758 Berlin Alexanderplatz, 547, 548 Blocking, 464, 681, 728, 730, 731, 996 Berliner, Alan, 644 The Blood of a Poet, 564 Bernays, Edward, 770, 777 Blue, 51, 190, 197 Bersani, Leo, 706 Blue Velvet, 190, 425 Bertolucci, Bernardo, 80, 88, 229, 491, Blues, 687 560, 566 Boardman, Frank, 3 The Best Years of Our Lives, 83, 376 Bodily, 157, 267, 309, 383, 387, Betty Boop, 41, 179 395–397, 401, 477, 525, 532, 552, Beyoncé, 719 714, 850, 854, 871–874, 881, B-films, 364 894–896, 898, 899, 1006, Bi-epistemology, 720 1008–1010 The Big Sleep, 249, 823n1 Body/bodies, 830, 837, 1006–1009 Biomolecules, 998 Body ownership perception, 1006–1009, Bipartisan Campaign Reform Act, 773 1011, 1013 “The Birds,” 543, 803 Bogart, Humphrey, 242, 348, 349, Birth of a Nation, 679, 680, 758, 607, 612 762, 770 Bollywood, 683 Bisexual desire, 720 Bolshevik Revolution, 762 Bisexuality, 720 Bolton, Lucy, 273 Bisexual representation, 720 Bondage, 753 Bisexual sexuality, 720 Bonnie and Clyde, 370, 371 1020 INDEX

Booth, Wayne, 99, 421, 426 Bronfen, Elisabeth, 354 Bordowitz, Gregg, 707 Bronson, Charles, 307 Bordwell, David, 98n3, 99n5, 101, 123, Bronze, 245, 294 125, 133, 136, 145, 154, 168, 201, Brooks, Frederick P., 998 206, 239, 247, 247n33, 248, Brooks, Mel, 19 251–253, 257, 270, 273, 275, 293, Broomfield, Nick, 642–644 358, 365, 382, 384, 385, 388–392, Brown, Clarence, 120 394, 403, 442, 443, 453, 455, 458, Brown, Stuart, 261, 273 763, 900 Brown, William, 279 Bornstein, Kate, 714–715 Brown people, 690 Borsage, Frank, 544 Browning, Robert, 554 Bouquet, Carol, 849 Brunette, Peter, 442 Bourgeois, 317, 320, 327, 328, 384, Brute causation, 611, 613 442, 581, 716 Bruun Vaage, Margrethe, 382, 399, 403, The Bourne Identity, 6 877, 957 The Bourne Ultimatum, 741 Buckwalter, W., 905 Bowie, David, 742 Budd, Malcolm, 966 Boyce, Kristin, 783 Buddy movie, 355 Boyle, Danny, 254 Buffy the Vampire Slayer, 217 Boys Don’t Cry, 714 Bullerjahn, C., 907 The Boys in the Band, 710 Bullough, Edward, 347, 348 Boyz in the Hood, 909 Bunker, Archie, 951 Bracketing, 87, 286, 292, 647 Bunuel, Luis, 37, 238, 398, 559, Bradley, Joy, 753 564, 565 Brakhage, Stan, 51, 171, 239, 565, Bürger, Peter, 328, 716–718 567–569, 593, 640, 642 Burnett, Charles, 682 Brand, Bill, 7 Burroughs, Edgar Rice, 683 Brando, Marlon, 79, 229, 230 Burtt, Ben, 814 Brandom, Robert, 263 Burwell, Carter, 801 Breakfast at Tiffany’s, 803 Bush Mamma, 690 Breaking Bad, 218, 390, 399, 959, 960 Bush, Jared, 87 Breathless, 253 Bushman, B. J., 910 Bringing Up Baby, 345, 349, 414, 923, 935, 935n22 Brecht, Bertold, 174, 254, 326, 328, C 453, 707, 716, 718 The Cabinet of Dr. Caligari, 323 Brennan, Judge William, 747, 748 Caché, 508, 854 Bresson, Robert, 82 Cacioppo, J. T., 860n43, 895 Breton, Andre, 564, 567 Cage, John, 954 Brinckmann, Christine N., 872 Cahiers du Cinema, 286 Bringing Up Baby, 345, 349, 414, Calbi, M., 904 923, 935 Call of Duty, 981 British Film Institute, 430, 605n7 Call of Duty: Modern Warfare 2, 991 British National Theatre, 1000 Cambodia, 771 Britton, Andrew, 431 Camcorder, 644 Broadcast video, 55 Camera, 82–88, 787n11 Brogan, T.V.F., 144 Camera angles, 58, 90, 109, 254, 310, Brokeback Mountain, 699, 823n1, 904 696, 789, 939, 958 Broken link, 526–527 Camera crew, 75, 90, 103 INDEX 1021

Camera Lucida, 442, 787n11 495, 514, 528, 531, 575, 585–588, Camera movement, 22, 37, 39, 82–88, 590, 620n44, 628, 636, 637, 658, 138, 225, 310, 311, 361, 418, 459, 662, 663, 668, 783–787, 796–798, 568, 582, 792, 797, 798, 871, 1002 804–808, 810–812, 816, 818, Camera-stylo, 640 861n46, 879–882, 898, 903–905, Cameron, James, 531 907, 909, 911, 950–952, 954, 955, Camille, 414 975, 976, 978, 979, 1003, 1004 Camp, 701, 709 Carson, L.M. Kit, 637 Camp, C. J., 911 Cartesian, 301, 302, 308, 454, 456, 479, Camus, Marcel, 691 488, 549, 632 Canada, 366, 696, 900 Cartesian doubt, 341 Canby, V., 906 Cartesianism, 287 Candida Royalle, 728 Cartoons, 768 Candy Crush, 980 Cartridge, 977 Candy Man, 681 Carvalho, S., 904 Canguilhem, Georges, 271, 272 Casablanca, 248, 372, 607, 612 Cannes Film Festival, 1001 Casetti, Francesco, 515 Cannon, W. B., 895 Casey, John, 415 Canudo, Ricciotto, 515 The Castle of Purity, 909 Canvas, xxvi, 294, 337 Categorical intention, 618, 619 Canyon, Christy, 728 Categories of art, 199, 974 Caouette, Jonathan, 630–631 Catharsis, 909–910 Capitalism, 695 Cathexis, 928, 939 Capitalist society, 326 Caughie, John, 967–968 Caplan, Ben, 130 Caught from Behind, Part II, 749 Capra, Frank, 238n3, 239, 349, 554, Causality, 151, 157, 249, 565, 606 763, 770 Cause-effect, 250 Capturing the Friedmans, 635 Cave Automatic Virtual Environment Caravaggio, 544 (CAVE), 997 Carbone, Mauro, 267 Cavell, Stanley, xxv, 165, 174–177, 182, Cardiff, Jack, 789 183, 186, 241–243, 245, 246, Card staking, 765 256–258, 267, 268, 276, 286, 303, Carlomusto, Jean, 707 308, 335–354, 364, 414, 513–515, Carlyle, Thomas, 545 519–522, 525, 526, 528, 530, 531, Carnap, Rudolf, 277 535, 791, 793, 798, 802, 935, 939, Caro, Anthony, 791 943–944 Carpenter, John, 804 CCTV, 49, 346 Carroll, J. M., 904 CD, 30 Carroll, John W., 67 Celluloid, 4, 11, 23, 31, 51, 64, 169, Carroll, N., 7n9, 22–25, 29–31, 43, 358, 361, 375, 431, 493, 494, 568, 45n8, 51, 52, 53n11, 60, 61, 63, 589, 590, 797 87, 88, 97, 98n3, 103–111, 114, Cel technique, 169, 170, 179 127, 145, 153, 180, 192n8, Cendrars, Blaise, 561 195–197, 239, 240, 245–247, Censorship, 723 249–252, 253n48, 255, 257, 263, Center for the Cognitive Study of the 268, 270, 275, 279, 293, 294, 357, Moving Image, 386 358, 361, 364–366, 376, 383–385, Central imagining, 556, 875, 876n38, 390–394, 400, 402–403, 412, 424, 1004, 1005 442, 443, 453–458, 472, 488, 489, Cephalus, 498 1022 INDEX

Cezanne, Paul, 309 Cinematography, 71–91, 174, 591 Chamarette, Jenny, 267 Cinema vérité, 613, 637, 640, 641 Chanter, Tina, 273 Cinéphiles, 373, 453 Chaplin, Charlie, 33–35, 46, 238n3, Ciné-poems, 604 545, 577, 578 Cis-gender, 658 Character engagement, 865n1 Citizen Kane, 32, 83, 232, 232n41, 369, Characters, 157, 243, 368, 803 370, 376, 433, 547, 548, 973 Charles, Josh, 129 Citizen Kane, 32, 83, 232, 369, 370, Charlie Brown, 72 376, 433, 547, 548, 973 Chase, David, 547 Citizens’ United, 773 Chatman, Seymour, 100–102, 110, Civil rights, 715, 771, 778 132, 391 The Civil War, 954 Chazelle, Damien, 126, 190 Clair, Rene, 558 Chekhov, Michael, 923 Class, 688 Cheong, L.-F., 904 Classen, Steven, 771 Child, Abigail, 569 Classical film theorists, 174, 180 China, 683, 696 Classical theories of poetry, 557 Chion, Michel, 200, 201, 204, 206, Clay, Cassius, 695 207, 812 Claymation, 170, 173 Choi, Jinhee, 574, 876 Clayton, Alex, 432 Chomsky, Noam, 771–773 Cléo from 5 to 7, 902 Chomskyian, 446 Clerici, Marcello, 491 “Choreographic Cognitions,” 150 Clinton, Hilary, 773, 778 Choreography, 222, 788, 792 Clooney, George, 544 Cinema history, 146, 229, 364 A Clockwork Orange, 907 Cinema-space, 371, 373, 375 Close up/close-ups, 30, 39, 80, 85–88, Cinema studies, 318, 329, 330, 333, 127, 154, 227, 241–244, 249, 393, 701, 702, 704, 867 398, 414, 548, 558, 562, 563, 589, Cinematic aesthetics, 714, 715 590, 592, 728, 742, 789n17, 802, Cinematic animation, 165, 167, 168, 813, 814, 854, 871, 907 175, 185 Closure, 40, 41, 129, 250, 537, 622, Cinematic apparatus, 456, 518, 563, 633, 865 709, 711 Clothier, William, 88 Cinematic fiction, 848, 893 Cloverfield, 606 Cinematic intelligence, 517 Cluster account, 806 Cinematic narration, 98, 115 Cluster theory of art, 734, 982 Cinematic narrator, 97–115 CNN, 772 Cinematic seeing, 87 Cocteau, Jean, 564, 565 Cinematic shot, 366 Coen Brothers, 78, 823n1 Cinematic signs, 457, 559 Cognitive, 145, 177, 189, 195n20, Cinematic thinking, 458, 515–519, 527, 201–205, 212, 260n3, 381–404, 529, 537 846–847, 893, 903, 911 Cinematic thought, 23, 499, 500, 515, Cognitive film theory, 271n46, 383n10 525, 535 Cognitive media theory, 381, 382 Cinematic universe, 687, 689 Cognitive psychology, 252, 279, 384, Cinema-time, 368, 371, 373, 375 845, 870 Cinematographer, 71, 78, 127 Cognitive symmetry, 881 Cinematographic apparatus, 937 Cognitive theory, 382, 384, 390, Cinematographic thought, 517 391, 404 INDEX 1023

Cognitive theory of the imagination, Conquest, 693, 725 846–847 Conscious expression, 524 Cognitive unconscious, 387 Consciousness, 294–298, 308, 448 Cognitivism, 247, 383n10, 386n19, Consciousness-raising, 672 662–664, 895 Constellations, 326 Cohen, Annabel, 201, 202, 203n55 Contemporary cinema, 154, 653, 667, Cohen, J. B., 911 694, 809 Cohen, Jonathan, 56, 977 Contemporary European cinema, 679 Cohen, Maxi, 633 Context of living, 328 Coherence theories, 827 Continental, 237–280, 239n4, 247n33, Cold Mountain, 803 262n11, 276n75, 279n83, 279n85, Coleridge, Samuel Taylor, 555 354, 453, 454, 514, 522 Collage, 173 Continental Philosophy, 259, 261, Collingwood, R. G., 359–360 264n15, 273n58 Collodi, Carlo, 693 Contingent universals, 389 Colman, Felicity, 272 Continuity editing, 149, 246, 254, 939 Color, 907 Continuity mistakes, 611 A Color Box, 361 Continuity script, 221 Color grader, 78, 91 Control theories, 912, 913 Color stock, 75 Cooper, David, 263–264, 274 Color Timer, 78 Copeland, Misty, 14 Comedy, 41, 882 Coplan, A., 339, 671, 871, 902, 906 Comedy of Remarriage, 242, 339, Copland, Aaron, 804, 860n42 349–352, 364n34, 414n22, 943n42 Coppola, Francis Ford, 79, 88, 190, 546, Comics (newspaper), 72 791n22, 804 Commemorative film, 604 Corleone, Michael, 9 Commodification, 321, 332, 695, 708, Corliss, Richard, 219 712, 716 Cornell, Joseph, 566–567 Communication, 17, 19, 101, 193, 265, Cornell University, 173n11, 359n15, 309, 310, 319, 327, 381, 389, 391, 363n31, 376n80, 391n41, 394 394, 395, 402, 415, 431, 434, 553, Corporeal, 703n11 554, 561, 579, 582, 584, 590, 611, Correspondence theories, 827 621, 759, 764, 766, 774, 873, 944 Corrigan, Timothy, 640 Communicative intention, 19, 619, 637 Cosmos, 613, 955 Communicative practices, 448, 684 Costello, Diarmud, 54 Communism, 317 Costume, 16, 22, 431 Communist Party, 449, 695 Costume design, 73, 90 Composer, 156, 222–224, 318, 685, Costuming, 664 789, 790, 804 Cotten, Joseph, 126 Compositing, 83 Counterfactual state, 858 Computer-generated imaging (CGI), 34, Counterpropaganda, 774 73, 74, 84, 241n13, 243, 245, 246, The Coup, 693 255, 637, 732, 952, 996, 997 Courbet, Gustave, 742, 743 Computer Space, 972 Covert film music, 816 Comstock Act, 746 Cowie, Elizabeth, 636, 708 Conceptual Act Theory, 896–898 Cowley, Christopher, 638 Conceptual processing, 870 Cox, Brian, 126 The Conformist, 491 Coyote, Wile E., 243 Congo, Anwar, 504–507 Crash, 398 1024 INDEX

Crawford, Joan, 703, 719 Curthoys, Ned, 506 The Crazy Ray, 558 Cusack, John, 125, 803 Creative imagination, 360, 845 Cutting, James, 145, 382, 394 Creeber, Glen, 950 Cut-outs, 170, 173 Creel, George, 758 Czech, 695 Crimes and Misdemeanors, 498–499 Czechoslovakian, 688 Crimp, Douglas, 706, 717 Criterial prefocusing, 251, 252, 907, 908 Critic clusters, 430 D Critical analysis, 211, 362, 454, 456, Da Gama, Vasco, 988 551, 559 Dadaist, 716 Critical communication, 415 Dadlez, Eva, 469 Critical theory, 28n12, 315–333, 383, Daffy Duck, 768 384, 409, 441, 444, 453, 456, 717, Dali, Salvador, 37, 238n3, 567 744, 768 Dallas, Stella, 347, 353 Criticism, 409–436, 410n5, 413n16, d’Allonnes, Fabrice Revault, 82 413n18, 416n28, 427n85 D’Aloia, Adriano, 872 Crivelli, C., 901 Damasio, A. R., 854n18 Cronenberg, David, 934 Damasio, H., 895 Crumb, 72 Damiano, Gerard, 728 Crusoe, Robinson, 683 Damned Interfering Video Activists Cruz, Ariane, 753 (DIVA-TV), 707 The Crying Game, 256, 714 Dance, 787n12 Cuarón, Alfonso, 135, 136, 202 Dances with Wolves, 253 Cuba, 688 Dandy Dust, 713, 714 Cubistic, 562 Danes, Claire, 548 Cukor, George, 349, 414, 544 A Dangerous Method, 934 Culinary art, 743 Daniell, Henry, 414 Cultural-historical/culturally-historically, Daniels, William, 80, 89 449, 457, 521, 526, 527, 578 Dante, 695 Culturally determined, 874 Danto, Arthur, 6, 9, 15, 16, 20, 22, 23, Cultural studies, 189, 544 25, 52, 243–246, 587, 590 Culture industry/culture-industry, 316, D’Antoni, Philip, 938 320–322, 328, 329, 331, 354, 700, Darabont, Frank, 132 701, 705, 708, 718, 768, 769 Darkness, 127, 155, 424, 546, 677 Cundey, Dean, 87 The Dark Knight, 659 Cunliffe, Zoe, 653 Darwin, C., 837 Curran, Angela, 97, 114n21, 274 Darwinian, 829, 838n7, 840 Currid, Brian, 719 Dasein, 300–308 Currie, G., 13, 14, 22, 51, 59n22, Dash, Julie, 682, 690 59n23, 61, 63–66, 74, 83, 97, Daughters of the Dust, 690 99n5, 101, 102, 107, 107n15, 108, David Holzman’s Diary, 637 112, 114, 114n22, 137, 139, 178, Davidson, Jaye, 715 195, 196, 201–205, 207, 245n27, Davies, David, 5, 6, 165, 472, 488, 489, 247, 248, 250–252, 267, 271, 503, 576, 952 279n85, 358, 361, 366, 373–376, Davies, Stephen, 223, 578, 817, 818 609n14, 614n28, 636, 809–811, Davis, Bette, 72, 703, 719, 935 845n2, 847n4, 849n9, 852–854, Dayan, Daniel, 937, 940 852n15, 853n17, 859n28 Day of Wrath, 909 INDEX 1025

De Lauretis, Terese, 240, 701, 702, Derrida, Jacques, 260, 261, 263, 264, 702n10, 709, 712 271, 274, 441–445, 450–454, 530, De Niro, Robert, 792 700, 711, 711n33, 719n49 De Palma, Brian, 791n22 Derridean, 709, 719 De Saussure, Ferdinand, 445, 446n20, Descartes, Rene, 340, 353, 474, 479, 447, 450 496, 532, 593, 594, 596 De Sousa, Ronald, 662 Deserto Russo, 545 Deadwood, 954 Desdemona, 343, 474 Deakins, Roger, 78, 84, 91 Desire, 389n32 Dean, Tacita, 493 Desnos, Robert, 555, 564 Dear White People, 680 Detached display, 24, 195, 196, 211n43, Death Proof, 741 246, 975–977 Decentered, 274, 860 Detective, 125, 247, 290, 335, 690, 936 Deconstruction, 701 Detroit, 416n28, 432n106, 693–696 Deen, James, 728 Dev D, 908 Deep focus, 83, 84, 549 Dialectic, 191, 272, 320, 325, 332, 352, Deep Throat, 726, 728 385, 449, 450, 524, 533, 657, 694, Depiction, 53n13, 56–59, 57n25 696, 760 Degrading, 689, 724, 731 Dialectical critique, 689 Delerue, Georges, 549 Dialectic of Enlightenment, 316, 317, 321, Deleuze, Gilles, 20–23, 159, 257, 321n8, 324, 327, 329, 768, 960 257n68, 263, 264, 272, 274, 276, Dialogue, 192 278, 354, 441–445, 449–451, 454, Diana Ross, 719 456–464, 513–515, 517–519, Diary of a Lost Girl, 909 522–530, 535, 546, 711 Dickerson, Ernest, 77 Delluc, Louis, 558, 563 Dickie, George, 25, 359, 967 Deloria, Vine, Jr., 681 Dickinson, Emily, 112, 567 Demeaning, 724, 753, 758 Diegetic music, 803, 804n11 Demille, Cecil, 109 Diegetic narrator, 362 Demme, Jonathan, 296, 403 Digital cinema, 87, 91, 182, 183, 185, Denino, Paul, 646 280n88, 529 Dennett, Daniel, 474 Digital image, 183–185, 529, 758 Dennis, C. J., 554 Digital photography, 184 Deontologist, 470, 475, 480–482, Digital processing, 171, 185 484, 487 Digital technology, 166, 168, 171, 173, Depiction, 20–22, 50, 53, 54, 56–59, 182, 184, 185, 511 73, 74, 83, 85, 120, 178, 245n27, Dilman, Ilham, 260 288, 291, 293, 295, 297–299, 306, Dimberg, U., 860n41, 907 326, 370, 478, 613, 620, 653, 654, Dinello, Daniel, 481 656, 657, 659, 667, 669, 671, 673, Direct cinema, 613, 640 674, 682, 688, 724, 725, 727, 740, “Direct cinema” movement, 639 744, 826, 834, 848, 852, 852n14, Direct emotions, 401 854, 935 Director, 719 Depth of field, 32, 33, 83, 361 Direct perception, 835 Depth of focus, 849 Direct realist, 63, 65 Deren, Maya, 241n7, 551, 556–561, Disaster, 482, 679, 854, 906 564–569 Disclosedness, 305 1026 INDEX

Disclosures, 120–122, 124, 126, 132, Drama, 110 135, 287, 288, 292, 300, 303n81, Dramatic imagination, 472, 475, 486 305–309, 520, 631 Dramatic time, 368, 369 Discourse, 9, 175, 217, 264, 290, 305, Draper, Kai, 481 307, 308, 318, 391, 392, 395, 421, Drawing, 243, 254, 256, 322, 323, 447, 426, 430, 451, 452, 454, 515, 520, 450, 452n29, 523, 813, 900, 910 526, 535, 536, 560, 583, 594, 642, Dream/dreams, 16–18 643, 657, 660, 663, 667, 669, 700, Dream images, 560 702, 706, 710–713, 721–723, Dream theory, 17, 18, 925 746–748, 750, 751, 754, 755, 759, Dreier, Katherine S., 716 760, 771, 775, 954 Dreyer, Carl Theodor, 238n3, 462, 545 Discovery Communications, 1000 Driencourt, Jacques, 765–766 Discrimination, 419, 620, 689, 722, Drive/drives, 105, 804, 899 724, 746, 751, 752 Dromm, Keith, 636 Discursive contexts, 457 Dr. Strangelove, 396 Disjunctive account, 807 Dryburgh, Stuart, 77 Disney, Walt, 176, 181, 183, 370, 670, Du Bois, W.E.B., 684, 688 693, 1000 Du Boisian, 689 Disney World, 670 DuBowski, Sandi, 642 Di Summa, Laura T., 627 Duchamp, Marcel, 43, 573, 574, 577, Doane, Mary Ann, 657 716, 718, 743, 954 Doctorow, E. L., 217 Duclos, S. E., 894 Doctor Watson, 99 Dulac, Germaine, 515, 528, 564, 703 Docudrama, 612, 625 Dummet, Michael, 264–267, 270 Documentary, 603–625, 605n7, Dunham, Lena, 218 635–638 Dunkirk, 98, 108 Documentary miniseries, 953 Dunne, Irene, 350 Dogme, 185 Dünne, Jörg, 628 Dolly shot, 87 Dunye, Cheryl, 710 Dominance, 266n23, 321, 450, 654, Duration, 150 658, 724, 750 Duration of shots, 153, 849 Donald Duck, 176 Durée, 461 Donelan, Carol, 274 Dutch angle, 14 Donna Summer, 719 Dutch colonialism, 688 Donne, John, 425 Duvall, Shelley, 859 Donnelly, K. J., 803, 813 Dworkin, Andrea, 724–725, 750, 752 Doob, Leonard, 763, 764 Dyck, John, 801 Doorly, Patrick, 422 Dyer, Richard, 703, 704 Dore, Gustave, 555 Dylan, Bob, 807 Dorothy, 107, 703, 719 Dynamic environments, 871 Dostoevsky, Fyodor, 933, 934 Dziemidok, Bohdan, 417 Doty, Alexander, 660, 702 Double consciousness, 690 Double Indemnity, 72, 73 E Double-Suicide, 901 Eagle Flight, 976 Dowling, Christopher, 967 Early cinema, 761 Doyle, Sir Arthur Conan, 98 East Asians, 682, 695 Dracula, 682 East of Borneo, 566 Drag Queen, 704 Easy Rider, 371 INDEX 1027

Eaton, Anne W., 885n65, 989 Emotion, 401–402, 894–897, 900, Eaton, M., 912, 913 913–914 Ebert, Roger, 981 Emotional asymmetry, 868 Écriture, 700 Emotional contagion, 871, 874 Edelman, Lee, 701, 709 Emotional intelligence, 524 Edison, Thomas Alva, 4, 198, 794–795 Emotion elicitation, 854, 907 Editing, 143–161, 369 Empathizing, 846, 876 Edwards, E. D., 911 Empathy, 398–400, 671, 865–886, Egan, David, 471, 473, 475, 476, 479 902–904 Egocentric space, 56, 847, 977 Empathy machine, 1003 Eichenbaum, Boris, 554 Empire, 250, 288, 346, 368, 848 Eichmann in Jerusalem, 506 The Empire Strikes Back, 130, 204 Eickers, G., 897, 903 Empiricism, 179 Eidetic reduction, 293 Empiricist, 179, 268 Einfühlung, 869 Empson, William, 418 Einstein, Albert, 604, 1012 Enactment, 126, 565, 575, 576, 915 Eisenhower, President Dwight, 554 Engel, Pascal, 268, 270, 279 Eisenstein, Sergei, 31n1, 144, 146, 150, Engraving on film, 173 155, 191, 192n7, 238, 239, 319, Enslavement, 681, 690, 693, 694 320, 325, 370, 523, 524, 528, Ephron, Nora, 132 557, 558, 575, 586, 587, 703, The Enigma of Kasper Hauser, 372 762, 763, 777 Episode, 132 Eisler, Hanns, 805 Episodic enrichment, 130 Eitzen, Dirk, 404, 606n10, 636 Episodic structure, 495 Ekman, P., 855n22, 899–901, 903 Epistemic Merit Model (EMM), 775, 776 Eldridge, Richard, 237 Epistemic resistance, 607 Electrical, 75, 75n10, 79, 90 Epistemological, xxv, 135, 165, 175, Elephant, 909 183, 184, 257n48, 272, 289, 326, Eliot, T.S., 735 518, 520, 521, 609, 610, 617, 620, Ellis, John M., 417–418, 963 624, 637, 643, 670, 672, 673, 683 Ellis, R. J., 907 Epoche, 292, 301 Ellsworth, P. C., 895, 897 Epshteyn, Boris, 772 Ellul, Jacques, 765–767 Epstein, Alex, 215 Elsaesser, Thomas, 515, 710 Epstein, Jean, 515–518, 523, 551, 558, el-Shabazz, el-Hajj Malik, 695 561–568, 576, 591–594, 702, 703 Emancipated cinema, 326 Equality, 90, 327, 774 Embodied, 308–311 Equisapiens, 694–696 Embodied character, 873 Eraserhead, 907 Embodied consciousness, 309–311, 516 Erotetic, 495, 510 Embodied metaphors, 395–397 Erotetic narration, 127, 290, 393, 496 Embodied simulation, 146, 397, 400, Erotic, 565, 656, 659, 701, 725, 737, 872, 1008 739, 741–743, 768, 927 Embodied state, 311, 812 Erotic economy, 714 Embodiment, 394–397, 703n11 Erotica, 725, 741 Emerson, Ralph Waldo, 339, 344 Eroticization, 724, 750 Emersonian perfectionism, 338n11, 339, Escape from New York, 804 340, 343, 344 Esposito, Nicholas, 973 Emmanuelle, 728 Essay film, 639, 640 1028 INDEX

Essence, 14, 29, 51–53, 121, 192, 194, Extension criteria, 3–26 195, 261, 266, 267, 273, 287, 288, Eye, 397, 803 290, 292, 293, 301, 303, 311, 374, Eyelight, 79, 80 448, 516, 525, 553, 554, 588, 589, Eye-sources, 567 594, 640, 726, 731, 734, 759, 786, Eyes Wide Shut, 808, 941, 941n38 838, 841, 953 Eye tracking, 395, 397, 998 E.T., 980 Eternal questions, 535 Eternal Sunshine of the Spotless Mind, F 227, 256 Faber, Michael, 478 Ethical criticism, 228, 229n29, 232, 988 Fabula, 120, 123, 248, 249, 368, 392 Ethical imperatives, 430, 833 Facebook, 771, 774, 778 Ethical importance, 866 Face-to-Face Imagined Seeing, 108 Ethicist, 475, 989 The Factory, 718 Ethico-political, 527 Fairbanks, Douglas, 562 Ethnographic, 681 Fairness Doctrine, 772, 773 Eurocentric, 331, 448, 450 Falconetti, Maria, 462 Euromodern, 683, 692 False consciousness, 331, 664, 725, European cinema, 370, 458, 464, 679 767, 775 Euthanasia, 509 False movement, 461 Evaluative, 724, 725, 732, 754, 769, Familiarity effect, 884 774, 845, 860, 861, 884, 956 Family resemblance, 261, 621n46, 622, Evaluative aesthetics, 410 721, 728, 870 Evaluative criticism, 409, 966 Fan-fiction, 216 Evaluative definition, 747 Fanon, Franz, 681, 688 Evaluative facts, 855 Fantasia, 246 Everyday aesthetics, 964 Fantasy, 708 Everything You Always Wanted Fantômas, 882 to Know About Sex But Were Fargo, 801 Afraid to Ask, 372 Farmer, Brett, 709, 710 Evidentiary status, 629, 643 Fascist, 317, 320, 329, 491, 523 Existence, 670, 731–733, 736, 743, 859, Fassbender, Michael, 934 940, 953 Fassbinder, Rainer Werner, 329, 330, Existential-aesthetic, 527 546, 547 Existential/existentials, 304–308 Fatal Attraction, 663 Existential phenomenology, 301, 444 Feagin, S., 858n36, 914 Exiting a Factory, 761 Fear, 856, 899 Experiential access, 870 Feedback system, 998 Experiential imagining, 107, 847, 848 Fehr, B., 896 Experimental, 642 Feige, Daniel Martin, 257 Experimental filmmaking, 567, 639, 707 Fellini, Federico, 370, 543, 545, Experimentalist, 10n7, 669 551, 902 Explicitness, 275, 534 Female, 425, 450, 451, 633, 654–657, Explicit sex, 723, 726–728, 730, 732 659–661, 663, 665–668, 671–673, Exploit, 57, 192, 194, 250, 714, 764, 680–683, 690, 692, 709, 724, 845, 903, 908, 972, 1002 728–731, 750–752, 768, 769, 942 Exploitation, 256, 689, 693, 724, 726 Female sexuality, 752 Expository Documentary, 608, Feminist film theory, 656, 659, 660, 611n22, 620 707, 708, 713, 713n29, 769 Extensional, 807, 810, 811 Feminist ideology critique, 664–666 INDEX 1029

Feminist imagination, 666, 672–673 Film-being, 267, 528, 529, 616 Feminist Marxism, 710 Film critic, 83, 358, 544, 563, 658, 659, Feminist philosophy of film, 653–674 662, 667, 925 Feminist psychoanalysis, 709 Film criticism, 88, 257n67, 257n68, Feminist theory, 942–943 285, 300, 354, 390, 410n5, 411, Femme Pictures, 728 419, 430, 433, 454, 664, 866, 886 Ferrera, Lorraine Senne, 547 Film festivals, 700, 1001 Festen, 185 Film fiction, 97, 102, 868, 869, 886 Fetish, 938, 938n31 Film-form, 527–529 Fetishism, 321 Film genre, 242, 252, 253n51, 363–364, Feverson, Anglobilly 606, 610, 741, 754, 1001 The Rise and Fall of the Legendary, 173 Filmind, 527–529 F for Fake, 606 Film interpretation, 16, 90, 360, 391, Fiction, 97, 98, 486, 605n7, 635–638 454–455, 534, 579, 925, 939 Fictional film, 55, 101, 473, 474, 534, Film in the condition of philosophy, 533 620, 625, 845, 848, 854, 855 Film language, 560, 700 Fictional intention, 620 Film lighting, 79 Fictionally true, 847, 987 Film/mind, 529 Fictional narratives, 180 Film music, 803–807, 816–818 Fictional narrator, 100–104, 106, Film narrative, 132, 136, 139, 250, 109, 110 360–363, 371, 375, 848, 904, 942 Fictional representations, 849, 853, Film of presumptive assertion, 620 856, 857 Filmosophy, 513–537 Fictional Showing, 133 Film phenomenologist, 1009, 1011 Fictional truth, 111, 130, 847–851 Film-philosophy, 257, 363, 457–464, Fictional world, 84, 100, 103, 104, 107, 514–520, 522, 527, 528, 530–537 111, 113, 114, 120, 125, 130, 131, Film-Philosophy (journal), 354 133, 138, 176, 181, 337, 360, 361, Film production, 242, 326 369, 371, 373, 375, 402, 480, 483, Film score, 804, 808 485, 488, 593, 612, 803, 848, 849, Filmscript, 830–832, 838 851, 852, 854, 857, 906, 959, Film space, 367, 368, 370–372, 377 978, 991 Film stock, 32, 37, 46, 72, 75–79, 82, Fiction-directed emotions, 855, 856 89, 90, 244, 358, 360, 361, 375, Fiction/nonfiction divide, 641 493, 762 Fictive intent, 104 Film studies, 247n33, 260n3, 365n39, Fidelity, 206 397n58, 431, 431n105, 451–453 Field, Syd, 215 Film text, 392, 659, 661 Fieldwork, 642 Film theory, 10, 32, 146, 174, 175, 189, FIFA 17, 978 200, 212, 237–258, 267, 276, 278, Fight Club, 765, 823n1 280n88, 336, 354, 358, 359, 365, Film acting, 242, 801 375, 383, 387, 390, 395, 442, 443, Film adaptation, 14, 788, 823n1, 829, 445, 452n29, 453–460, 462–464, 836–838, 841 513–515, 530, 531, 546, 556, 604, Film as art, 191–194, 241, 242, 617, 654, 656, 659–705, 707, 708, 357–360, 377, 548, 743, 787, 981 710, 713, 715, 716, 719, 720, 727, Film as film, 29, 33, 363, 622, 623 745, 768, 769, 775, 784–788, Film as language, 18–20, 307, 456 796, 893, 924, 925, 929, 931, Film as philosophy, 256, 267n27, 936–939, 942 363n26, 492n2, 513–537 Film time, 367–370, 372, 377 1030 INDEX

Film world, 252, 258, 268, 304, Frame, 14, 49, 86, 87, 120–122, 152, 370–372, 528, 529, 728 154, 246, 368, 370 Fincher, David, 77 Framing, 21, 44, 85, 87, 121, 127, 134, Fingerhut, J., 908, 913 138, 249, 323, 325, 330, 361, 393, Finnegans Wake, 927–928, 928n7 461, 560, 608, 621n46, 687, 728, First Amendment, 747, 749 730, 745, 746, 771, 884, 1003 Fischer, Lucy, 667 Frampton, Daniel, 266, 279, 515, 519, Fists in the Pocket, 909 527–530 Fitzgerald, D. A., 907 Frampton, Hollis, 596, 597 Fixed spectator, 660 France, 173, 238n3, 262, 274, 278, Flaherty, Robert J., 545 359n13, 359n14, 444, 445, 515, Flashback, 241, 248, 253, 254, 325, 543, 639n28 370, 560, 832, 958 Francophone, 682, 690 Flash Gordon, 41, 109–111 Frankenstein, 103, 794, 795, 834, 904 Flashing, 77 Frankfurt School, 315–320, 316n1, 326, Fleming, Victor, 105, 719 327, 329–332, 441, 767–769, 960 Flesh and the Devil, 120, 122, 138 Frears, Stephen, 125 Flight Simulator, 974, 980 Free indirect discourse, 560 Flinn, Carol, 804, 805 Free indirect point of view, 560 The Flintstones, 180 Freeland, C. A., 909, 911 Flip-books, 167, 168 Freeland, Cynthia, 247, 274, 278, 364, The Florida Project, 670, 671, 673 403, 658, 664–665 Flory, Dan, 399, 403, 878, 883n60 Freeman, Harold, 749 Flow, 145 Freeman, Morgan, 132, 210 Fluxus, 43, 327 Frege, Gottlob, 261n9, 262–267 Focalization, 248, 258 Fregean, 265, 266, 277 Focal length, 82, 84–86, 168, 370, 587, Frege-Husserl divergence, 269 588, 908 Frege-Russell-Carnap school, 263 Focus, 82, 251, 252 Fregoli Delusion, 502 Fokt, Simon, 726, 726n14, 733n32, 735 French, 71, 83, 90n47, 268, 272, 276, Foley, James, 204 324, 354, 441, 444–446, 445n17, Foley artist, 204 448, 449, 451–453, 515, 523, 528, Folman, Ari, 642 544, 555, 558, 561, 563, 564, Fonda, Henry, 240, 350 591, 639, 682, 711, 711n33, Fonda, Peter, 371 767, 773, 901 Foot, Phillippa, 481, 482 French epistemology of science, 262 Forbes, Michelle, 469 French filmmaker, 515, 558, 561 Forceville, Charles, 395 French Foreign Legion, 682 Ford, Harrison, 244, 245 French postwar theory, 711 Ford, John, 88, 238, 239 French spiritualism, 262 Form, 979–980 Freud, Sigmund, 237, 254, 322, 449, Formalism, 11, 392n44, 553 451, 452, 561, 656, 658, 706, 710, Formalist, 554, 557, 558 713, 714, 923–928, 930, 931, Foster, Jodie, 296, 299 934–936, 944 Foucault, Michel, 271, 376, 441, 442, Freudian, 16, 242, 317, 387, 416n28, 444, 447, 450–452, 454, 455, 643, 444, 556, 656, 713, 867, 885, 710n27, 711 924, 925, 939 Fountain, 43, 573, 716, 743 Freudian theories, 444, 867 Fourth Wall, 694 Freud: The Secret Passion, 934 Fox News, 771 Fricker, Miranda, 668 INDEX 1031

Frida, 86 Gay, 327, 633, 701, 702, 704–706, 708, Friday the 13th, 298, 726 709, 712, 715, 719 Fried, Michael, 791 Gay spectator, 709 Friedkin, William, 710 Gehr, Ernie, 569, 575, 587, 589, 590 Friedman, Anthony, 216 Geiser, Janet, 569 Friedman, Peter, 633 Gender, 240, 256, 273, 274, 315, 331, Fromm, Erich, 317 332, 364, 454, 646, 654, 661, F-stop, 82, 83 663–665, 670, 679, 682, 683, 693, Fuller, David, 418 696, 702, 705, 707, 709, 712, 715, Fuller, Graham, 416 719, 729, 744, 750, 753, 897, 901, Functionalist, 119, 122, 123, 125, 126, 913, 942 132, 137, 446 Gender identities, 702, 705, 715 Functional magnetic resonance imaging Gender stereotype, 753 (fMRIs), 387, 397 Gendler, Jason, 130 Functional sounds, 813 Gendron, M., 898, 901 Funny Games, 508 Genealogical critique, 455 Furness, Thomas, 998 Generality, 36n3, 418, 510, 534, 730, Fusion of personalities, 872 765, 826, 910 Fuss, Diana, 704 ‘General Linguistics,’ 445 Futurist, 553 Genetic fallacy, 273 Genette, Gérard, 391 Genitalia, 714, 728 G Genre, 9, 23, 113, 199, 216, 243, 248, Gabbard, Glen O., 931, 934, 935 251–254, 339, 349, 350, 361, 364, Gabbard, Krin, 931, 934, 935 366, 394, 431, 531, 532, 546, 557, Gabriel, Peter, 803, 807 558, 604, 606, 610–612, 621n46, Galen, 925 623, 629n9, 635, 636, 638–640, Gallese, Vittorio, 146, 147, 397, 1008 655n4, 667, 678, 690, 692, 693, Gallic, 711 715, 722, 723, 725, 726, 728, 730, Gameplay, 983, 988 734, 745, 754, 761, 825, 849, 850, Gamer’s dilemma, 990 859, 907, 908, 912–915, 943 Games, 13, 39, 129, 131, 245, 255, 386, Gere, Richard, 932 404, 425, 768, 846, 865n1, 868n9, Gerima, Haile, 682, 690 949, 971–974, 976, 978, 981–983, German aesthetics, 735 988, 1002, 1004, 1005, 1013 German critical theory, 441 Gangster film, 504, 543 The German Ideology, 317, 331 Ganja & Hess, 690, 692 Germany, 104, 147, 262, 315, 317, 320, Garbo, Greta, 80, 120, 414 329, 359n12, 546, 615, 616, 758 Garcia Bernal, Gael, 202 Gerstner, David, 699 Garland, Judy, 703, 719 Gerwig, Greta, 667–668 Gaut, Berys, 30, 35–40, 42, 44, 46, 54, Gestalt, 145, 272n53, 371 65, 65n54, 84, 89, 90, 97, 98n4, Gesture, 156, 182, 193, 307, 343, 396, 99, 100n6, 101, 101n8, 107n15, 412, 418, 470, 716, 719, 720, 871, 108–111, 136–137, 181, 184, 185, 901, 902, 942, 1012 195, 210, 219, 220, 226, 227, 255, Get Out, 693 358, 360–367, 375, 376, 404, 806, Gettier, Edmund, 340, 341 808, 811, 812, 845n1, 858n2, Gever, Martha, 704 859n37, 869, 876, 956, Geyrhalter, Nicholas, 569 984–987, 989 Ghostbusters, 665, 847 1032 INDEX

Gibbs, John, 432, 433, 435 Grand Theft Auto IV, 983 Gibson, J. J., 386, 392 Grand Theft Auto V, 991 Gifs, 758 Gran Fury, 717 Gilbert, John, 120 Grand theory, 711 Gilbert-Lecomte, Roger, 528 Grant, Cary, 107, 240, 349, 350, Gilligan, Vince, 218, 230 923, 935 Gilmore, Jonathan, 845 Graphic, 229, 246, 368, 557, 724 Giotto, 544 Grease, 665 Girls, 218, 752, 753n104 Great Britain, 366 Girls Gone Wild, 751 The Great Train Robbery, 761 The glance, 963 Greek dramatists, 552 Gledhill, Christine, 659 Greene, Graham, 126, 693, 695 Glendinning, Simon, 261–263 Greengrass, Paul, 741 Glengarry Glen Ross, 226, 227, 231 The Green Ray, 493 Glittering generalities, 765 Greenwood, D., 913 God and Country, 575, 586 Gregory XV, Pope, 759 Godard, Jean-Luc, 174, 194, 253, 326, Greimas, A. J., 446, 447 332, 522, 543–545, 560, 569, 640 Grene, Marjorie, 268 The Godfather, 7, 9, 79, 252, 546, 547, Greyson, John, 704, 707 823n1, 980 Grice, H.P., 19 Gold, Joel, 633 Grice, Paul, 777 The Golden Ass, 693, 694 Grief, 856 Goldeneye, 980 Grierson, John, 628, 635, 762, 763 Goldie, Peter, 857, 857n31, 860, Griffith, D.W., 544, 554, 555, 679, 762 860n44 Griffith, Robin, 707, 708 Goldman, Alan, 416, 417, 858n34 Grint, Rupert, 135 Gollum, 171 Grip crew, 75, 75n10, 79, 90 Gombrich, E.H., 421–422 Grodal, Torben Kragh, 147, 150, 271, Gomez, Nick, 547 382, 396, 396n56, 400 Gondry, Michel, 218, 227, 228 GROPE, 998 Gone with the Wind, 105 Gross, Daniel, 143 Goodman, Nelson, 338 Guerra, Michele, 146, 147, 1008 Good Morning, Vietnam, 931 Guess Who’s Coming for Dinner, 680 The Good Wife, 128, 129, 131, 132 Guggenheim Museum, 224 Goodwin, Ginnifer, 87 Guillermin, John, 690 Good Time, 804 Guldenring, M., 907 Gopnik, Adam, 818 Gulf War, 999 Gorbman, Claudia, 201, 202, 805 Gulkin, Harry, 634 Gordon, Jane Anna, 679 Gumby, 170 Gordon, Lewis, 689n19 Gunn, Bill, 690 Gordy, Barry, 696 Gunning, Tom, 551, 554, 555, 787n11 Gorgias, 759 Guo, Christine G., 871 Gould, Timothy, 354 Guyer, Paul, 335, 965 Gracyk, Theodore, 963, 964 Guzzetti, Alfred, 16–17 The Graduate, 851 Grain, 76, 79, 90, 109 Grain structure, 77 H Grammar, 272 H.D. (aka Hilda Doolittle), 564 Grand imagier, 529 Habermas, Jurgen, 316, 327–328, 760 Grand Theft Auto, 981 Hagberg, Gerry, 823 INDEX 1033

Halberstam, Jack, 713 Heftberger, Adelheid, 146 Halberstam, Judith, 713 Hegel, G.W.F., 237, 242n16, 257, Hall, Stuart, 659 263, 273, 276, 324, 449–451, Hallucinating, 846 699, 832, 837 Hallucination, 858, 998 Hegelian, 67, 242, 253n51, 266n23, Hamilton, Andy, 813–816 273, 449, 549, 716 Hamlet, 823n1, 825, 931, 931n13 Hegelianism, 444, 449, 450 Hamlyn, D.W., 275 Hegelian-Marxism, 444 Hammer, Barbara, 707 Hegemonic cinema, 679, 684 Hammer, Espen, 315, 354 Heidegger, Martin, 263, 271, 276, 277, Hand, David, 73 286, 300–309, 311, 354, 418, 444, Haneke, Michael, 276, 277, 311, 508, 445n17, 449, 451, 521, 525, 530, 509, 854, 933 536, 802 Hannibal, 955 Heilig, Morton L., 997 Hannibal Lecter, 882 Heimann, Katrin S., 145, 147 Han Solo, 245 Hein, Hilde, 670 Hanson, Ellis, 704 Heisenberg, Werner, 604 Haptic, 713, 1006 Helpmann, Robert, 789, 792 Haptic-visual, 714, 998 Henriques, Julian, 144, 159 Hard-core, 470, 727–731, 751, 753 Henry: Portrait of a Serial Killer, 398 Harlem Renaissance, 695 Hepburn, Audrey, 303 Harmon-Jones, E., 894 Hepburn, Katherine, 242, 349, 350, Harrington, Curtis, 565 903, 923 Harry Potter, 105, 107, 111, 128 Heracleitus, 352 Harry Potter and the Chamber Herman, Edward, 771–773 of Secrets, 105 Hermeneutical, 672 Harry Potter and the Prisoner of Hermeneutical resources, 672–673 Azkaban, 135, 138 Hermeneutics, 618, 684 Hartz, G.A., 905 Herzog, Werner, 250, 329, 330, 546, Haskell, Molly, 654, 655, 662 1000, 1002 Hasson, Uri, 382, 397 Hess, Amanda, 665 The Hateful Eight, 222 Hess, U., 900 Hatoum, Mona, 628 Heterogeneous, 760, 774–779 Hawks, Howard, 238, 239, 240n7, 349, Heterosexual, 658, 668, 692, 706, 414, 544, 923 720, 725 Hayak, Salma, 87 Hidden figures, 90, 90n46, 90n47 Hayakawa, Sessue, 562 Hierarchy, 450, 552, 719, 724, 750 Haynes, Todd, 708 High art, 180, 251, 320, 911 Hazareesingh, Sudhir, 711, 711n33 Higher-level empathy, 875 HBO, 546–548, 772n61, 1000 High Fidelity, 125 HD video, 952 High Noon, 253 Head-mounted display, 996, 997 Hilary: The Movie, 773 Headset, 997, 998 Hills, Matt, 965 Hearing, 209, 812 Hindemith, Paul, 806 Heath, Stephen, 239n4, 240, 385 Hip-hop, 687, 693 Heavenly Creatures, 931 His Girl Friday, 349 Heckroth, Hein, 789 Histoire(s) du Cinéma, 332 Hedonism, 544, 913 Historical re-enactments, Hedwig and the Angry Inch, 714 616, 620, 625 1034 INDEX

History and Class Consciousness, Horkheimer, Max, 315–318, 321, 329, 321, 321n7 767, 768, 960 History of philosophy, 261, 273, 474, Horoscopes, 768 519, 699 Horror, 664, 725, 909, 914 Hitchcock, Alfred, 4, 35, 37, 41, 44, 86, Horror Film, 403n79, 664 103, 218, 239, 240n7, 249, 290, Hourani, N., 912 304, 463, 529, 549, 709, 803, 872, House, H., 910 923, 936 House of Games, 226 Hitler, Adolf, 317, 323 Howard, Byron, 87 HIV, 633, 706, 707, 761 Howard, John, 350 Hobart, Rose, 566, 567 Howard, Trevor, 126 Hochschild, A., 896 Howett, Peter, 125 Hockney, David, 335 Hubbard, Jim, 715 Hoerl, Christoph, 62–65 Huesmann, L. R., 910 Hoffman, Dustin, 851 Hughes, Langston, 694, 695 Hoffman, E.T.A., 788 Hugnet, Georges, 564 Hoffman, Karen D., 635 Hugo, 30, 144, 191, 238, 359, 359n11, Hoffner, C. A., 910 383, 528, 792 Hogwarts, 107 The Hulk, 73, 74 Hollywood, 16, 49, 71, 74, 75, 78, The Human Condition, 909 80n22, 82, 89, 126, 138, 174, 176, Human Nature, 227, 228 177, 216, 217, 221, 221n22, 228, Human condition, 271, 336, 341, 349, 229n38, 237, 238n3, 239, 240n7, 732, 755, 909 254, 304, 316, 321–324, 330, 340, Human freedom, 340, 350, 488 341, 345–349, 352, 359, 364, 366, Humanistic ideology, 448 370, 372, 384, 388n26, 425, 493, Humanities, 339, 441, 453 504, 506, 523, 543, 544, 559, 605, Human Rights Campaign (HRC), 705 612, 653–657, 665, 666, 674, Hume, David, 263–264, 268, 274, 426, 690n21, 696, 703, 707–710, 749, 474–477, 910, 911 757, 758, 763, 768, 769, 810, 830, Hummel, William, 760, 761 831, 839n7, 902, 934, 935, 943 Humor, 228, 299, 633, 720, 732, 745, Hollywood Reporter, 229, 229n38 754, 879 Hollywood Video Production Huntress, Keith, 760–761 Company, 749 Huppert, Isabelle, 508, 933 Homeland, 547, 548 Hurd, Earl, 169 Homer, 552, 927, 927n5 Hurley, Susan, 857, 857n30 Home video, 49, 729 Husserl, Edmund, 262, 264–267, Homicide, 226 269, 271, 286, 287, 289–301, Homogeneous, 302, 383, 454, 460, 306, 308, 309, 311, 449, 604, 622, 770, 963 451, 595 Homographesis, 709 Huston, John, 741, 934, 935 Homophobic, 705, 706 Hutchins, Edwin, 145 hooks, bell, 657, 660 Hyman, Mark, 772 Hoolboom, Mike, 7, 23 Hyperreality, 443 Hopkins, Anthony, 296 Hyper-visuality, 728 Hopkins, Robert, 53–55, 74, Hypothetical imagination, 472, 475, 486 107n14, 115 Hypothetical narrative, 534 Horace and Pete, 951 Hyrule, 978 INDEX 1035

I Implied author, 99, 119, 133, 136, Iago, 343, 506, 507 137, 139 Ice Poseidon, 646 Implied spectator, 663, 664 Iconography, 252, 253, 394, 690, 728 Imposition, 450, 523 Idea, 57, 58, 60, 61 Imposition objection, 503, 534, 535 Ideal documentary, 612, 636 Impression of movement, 53n11, 62, 63, Identification, 362, 603–625, 701, 166, 169, 170, 461, 811n43, 975 858–861, 866–869 Im-signs, 559 Identification-as-identity, 867, 869 I’m Your Man, 983, 988 Identity, 701, 913–914 Iñárritu, Alejandro Gonzalez, 1001 Identity group, 664 In a Year of 13 Moons, 909 Ideological, 318, 937 Inception, 848 Ideology, 315–333, 664–666 Incident light meter, 82 Ideology Critique, 330–333 An Inconvenient Sequel: Illocutionary act, 750, 778 Truth to Power, 770 Illumination, 76, 78, 81–83, 305, 435, Indeterminacy of translation, 825, 685, 686 827, 839 Illusion, 13–15, 201–205 Indexicality, 183 Illusionism, 14, 15, 59, 65, 67, 294, Indexical relation, 183, 185, 186 325, 574 India, 543, 603, 606, 617, 683, 901 Illusionist, 15, 22, 59, 60, 62–66 Indigenous, 679, 681–684 Illusionistic, 201, 461 Indirect point of view, 560 I Love Lucy, 954 Indistinctionalist, 607 Image, 267, 271, 271n47, 279n85, Indonesian genocide, 504, 506 294–298, 359, 798 Industrial Light and Magic, 171 Image consciousness, 289, 294–298, 300 Inequality, 724, 746, 750, 771 Image generation technologies, 996 Inferences, 10, 123, 384, 387, 391, 392, Imagination, 15–16, 104–106, 115, 298, 397, 483, 485, 590, 662, 848–850, 374, 845–861 853, 859, 900 Imagination Account of Fiction, Inferential reasoning, 858 104–106, 115 Inferno, 695 Imaginative activity, 845, 875 Inferred author, 139 Imaginative attitude, 847 Informative intention, 619 Imaginative identification, 859, 860 Inhuman, 518, 523, 526 Imaginative resistance, 399n64 Instability, 495, 563, 643–645, 647, 670 Imaginative simulation, 870, 875, 876 Instagram, 628, 646, 771, 774 Imagined representation, 854 Institute for Social Research, 315 Imagined seeing, 83n31, 98, Intel, 1000 106–110, 133 Intellectual robot, 517 Imaginings, 846, 849 Intended entertainment, 974 Imitation, 29, 31, 145, 148, 152, 190, Intention, 25, 727 193, 199, 211, 215, 286–288, 337, Intentional agenda, 617 426, 459, 517, 528, 552, 568, 642, Intentional consciousness, 300, 308, 310 658, 659, 690, 700, 710, 715, 785, Intentionalist, 807 870, 871, 903, 997, 999 Intentionality, 289, 290 Immersive empathic experience, 1003 Intentional object, 473, 855 Immoralist, 989 Interactive, 593, 844, 971, 972, Imperialism, 683 983–988, 990, 991, 997, 998 Implicit association test (IAT), 1012 Interactive fiction, 987, 988, 990, 991 1036 INDEX

Interactive films, 972, 983, 988, Jason Vorhees, 298 990, 991 Jay, Martin, 316 Interactive gameplay, 983 Jazz, 320 Interactive multisensory cueing, 997 Jeanne Dielman, 868, 909 Interactive narration, 139 Jenkins, Henry, 131 Interactivity, 983–988 Jeremy, Ron, 728, 731 Interview, 567 Jesus, 690, 833 Interfilm, 983 Jeunet, Jean-Pierre, 532 Internal monologue, 524 Jewish, 104, 498, 679, 682 International Colloquium of Critical Jews, 507, 679, 682 Languages and the Sciences JFK, 77, 606 of Man, 444 Jim Crow, 771 Intertextuality, 243 Joan of Arc, 250 Intuition pump, 470, 471, 473–477, Jodorowsky, Alejandro, 551, 565 479–482, 485, 489 Joe and Maxi, 633 In Vanda’s Room, 909 Johns Hopkins University, 389n31, Invariantism, 131 390n39, 399n62, 444, 829n5, Investigative narrative, 631, 647 932n19 Ion, 759 Johnson, Duke, 500 Irigaray, Luce, 441, 451 Johnson, Mark, 396 Irony, 720 Joint authorship, 220, 232n41 Irrealist, 855–857 Jones, Duane, 690 Irvin, Sherri, 6, 963, 966 Jones, Ernest, 931 Islam, 695 Jones, Jonathan, 981 Italian Futurist, 166 Jonze, Spike, 218, 503, 829 Italian neorealism, 359, 370 Jordan, Lawrence, 555 It Follows, 804 Joslin, Tom, 633 It Happened One Night, 256, 349 Jouissance, 711 Iven, Joris, 567 Jowett, Garth, 774 Juhasz, Alexandra, 707 Jules and Jim, 186 J Julie & Julia, 132 Jack, R. E., 901 Jung, Carl, 934 Jackson, Peter, 931 Jungle Fever, 256 Jacobs, Jason, 950, 961–962 Jurassic Park, 87, 171 Jaeckin, Just, 728 Jakobson, Roman, 446, 553–554, 558, 568 K James Bond, 41, 388 Kael, Pauline, 547 James, William, 338, 678, 894 Kagel, Mauricio, 326 Jameson, Jenna, 728 Kallias, A., 911 Jane, Jesse, 728 Kane, Daniel, 568 Janet, Pierre, 561 Kania, Andrew, 14, 59–62, 64, 100, Japan, 543, 683, 696 100n6, 101n8, 102n9, 103, 210 Japanese, 178, 682, 901, 902 Kant, Immanuel, 262, 262n10, 263, Jarecki, Andrew, 635 263n14, 276, 331, 340, 343, 344, Jarman, Derek, 51 410, 411, 474, 578, 760, 962, 965 Jarvie, Ian, 358, 372, 373, 376 Kantian, 262n10, 266n23, 277, 336, Jason Leigh, Jennifer, 501, 502 346, 517, 736, 963, 965, 966 INDEX 1037

Kantianism, 287, 343, 343n23 Korean Americans, 695 Kantian tradition, 738 Korsmeyer, C., 909, 911 Kaufman, Charlie, 218, 227, 228, 500, Kozzlof, Sarah, 878 501, 503, 829–841 Kracauer, Siegfried, 29, 35, 316, 318, Kawin, Bruce, 528 320, 323–326, 330, 332 Keane, Marian, 354 Kragel, P. A., 894 Keating, Patrick, 71, 119 Krakauer, Siegfried, 193 Keaton, Buster, 546, 549 Krasker, Robert, 127 Kelly, Jill, 728 Kreibig, S.D., 894, 905 Kermode, Frank, 788 Krisha, 815 Kerry, John, 777 Kristeva, Julia, 441, 443, 444, 451 Khondji, Darius, 77 Krueger, Myron, 998 Kidman, Nicole, 84 Kubelka, Peter, 569 Kiernan, Matthew, 735 Ku Klux Klan, 679 Kieslowski, Krzysztof, 546 Kubrick, Stanley, 266, 396, 543, 694, Kill Bill, 741 907, 941 Kinaesthetic, 870–874 Kuleshov, Lev, 146, 157, 319, 762, 904 Kinaesthetic empathy, 871 Kuleshov Effect, 903 Kinaesthetic imagination, 147 Kurosawa, Akira, 239, 370, 543 Kinesthetic mimesis, 870–874 Kushner, Jared, 772 Kinetic, 24, 145, 159, 456, 463, 515, 718 Kinetophone, 198n31 L King Kong, 171, 251, 288, 848 Labor movement, 316 King Lear, 298, 339, 342 La Bruce, Bruce, 710 King, C. M., 912 Lacan, Jacques, 239, 263, 278, 441, 442, King, Martin Luther, Jr., 694 444, 446, 447, 453, 643, 658, 711, Kingsley,, Charles, 554, 555 924, 925, 936, 943 Kinoautomat, 983, 988 Lacanian psychoanalysis, 365, 383, Kipling, Rudyard, 554 454, 936 Kirchheimer, Otto, 317 Lacanian theory, 708, 867, 936 Kirtland, Katie, 561 Lackey, Douglas, 543 Kitsch, 325 Lady Bird, 667–669, 672 Kivy, Peter, 805 Lady Chatterley’s Lover, 728, 740 Klahr, Lewis, 569 The Lady Eve, 349, 350 Kléber, Alfred, 702 Lady Gaga, 742 Kleinschmidt, Shieva, 67 L’Age d’or, 564, 565 Kleiser, Randal, 707 La Jetée, 52, 197 Kleptocrat, 696 Lakoff, George, 396 Klevan, Andrew, 409 La La Land, 126, 222, 980 Kluge, Alexander, 316, 324, 327–330 Lamarque, Peter, 97, 111n19, Knausgård, Karl Ove, 627 849n9, 905 Knight, Deborah, 357 Lamb, 901 Knightley, Keira, 934 Landau, Martin, 498 Kobelia, Dorota, 172 Landis, John, 104 Koch, Gertrud, 316 Lang, Fritz, 238, 249 Kodachrome, 90, 90n46 Lang, P. J., 907 Koons, Jeff, 740 Lange, C. G., 894 Korea, 683, 696 Langer, Susan, 788 1038 INDEX

Langton, Rae, 750, 751 Levaco, Ronald, 146, 157 Language, 18–20, 33, 238n3, 266–269, Levenson, R. W., 907 307, 810 Leviathan, 569 La Notte, 324 Levin, Daniel, 389 La Perle, 564 Levine, K. J., 910 LaPlanche, Jean, 708 Levinson, Jerrold, 100, 102–106, 110, La Règle du Jeu, 372 114, 120, 247, 737–744, 803, 805, L’argent, 82 806, 853n16 Lasswell, Harold, 763, 764 Levi-Strauss, Claude, 441, 446, 447, 450 Last Dragon, 696 Levitt, Helen, 567 The Last Emperor, 80, 88 Lewis, Damien, 548 The Last Laugh, 909 Lewis, David, 850 Last Year at Marienbad, 249, 253 Leyda, Jay, 567 Las Vegas, 1001 LGBTQ, 701, 705, 712, 715, 720 Latinas, 718 Liangtang, Chang, 1009 Latinos, 718 Liberty Valance, 250 Laura, 255, 267, 280n89, 655, 709, Liget, György, 808 709n26, 730n26, 867 Lighting, 79–82 La Vérité, 902 Lighting crew, 75 L’avventura, 82, 253, 373, 849 Lighting designer, 75, 79 The Legend of Zelda: Breath Lilya 4-Ever, 909 of the Wild, 978 The Lion, the Witch, L’Eclisse, 253 and the Wardrobe, 488 Le Petit Soldat, 761 The Lion in Winter, 903 Le Prince, Louis, 4 Lindgren, Ernest, 434 Le Tempestaire, 592–594 Lindsay, Vachel, 556 L’Etoile du mer, 555–557, 564 Linguistic signs, 552, 559 Leavis, F.R., 418, 418n41 Link, Caroline, 104 Lebensphilosophie, 262 Linklater, Richard, 172, 181, 182, Lee, Alfred, 760, 761 495, 497 Lee, Bruce, 682 Lin-signs, 559 Lee, Chang-dong, 425 Lippmann, Walter, 770, 771 Lee, Lance, 215 Lip-synching, 719 Lee, Spike, 77 Lisa, 279n83, 354, 501, 502 Leeds, 976 Litch, Mary, 278, 362 Lefebvre, Henri, 144n1 Literal seeing, 852 Legion, 952, 966 Literary art, 180 Leibniz, G.W., 523 Literary criticism, 551, 560 Leibowitz, Flo, 247, 663 Literary fiction, 98, 99, 104, 105, 473 Lens/lenses, 22, 82–86, 168, 244, 245, Literary memoir, 628 286, 323, 370, 527, 587, 641, 654, Literary theory, 98, 133, 238, 247, 441, 703, 719, 785, 915, 1002 452, 561, 562 Leone, Sergio, 307 Little, Cleavon, 11–13, 16, 19 Lerner, M.J., 906 Little Big Man, 253 Lesbian, 701–705, 712 Live action, 13, 169, 171–173, 180, Les Revenants, 955 182, 183, 185, 186, 494, 495, 988 Les Triplettes de Belleville, 72 Live-action cinema, 166, 168, Le Tempestaire, 592–594 174–178, 181 Leung, Helen Hok-Sze, 713 Live Aid, 770 INDEX 1039

Live streaming, 646 Love Brewed in the African Pot, 900 Live video feeds, 949 Loving Vincent, 172, 172n9 Livingston, Paisley, 98n2, 99, 219, 220, Low-contrast, 76 226, 232n41, 247, 263, 266, 271, Löwenthal, Leo, 317, 318 279, 376, 471, 472, 517, 576–579, Low-level, 76, 860, 870, 1013 582–5867 Lubitsch, Ernst, 80 Locke, Brian, 695 Lucas, Christopher, 91 Locke, John, 331, 760 Lucas, D.W., 910 Locutionary act, 778 Lucas, George, 171 Logical, 287, 289, 295, 296 Luck, Morgan, 990 Logical atomism, 265, 268, 269 Luckey, Palmer, 1001 Logical positivism, 825 Luhrmann, Baz, 84 Loht, Shawn, 285 Lukács, Georg, 321 London, 49n1, 53n13, 75n8, 76n13, Lukacs, György, xxv, 515 167n3, 168n4, 168n5, 173n10, Lumet, Sidney, 719 179n21, 181n29, 182n32, 215n1, Lumière, 604, 761, 923 259n1, 260n2, 262n11, 265n20, Lumière actualités, 604 268n32, 271n48, 271n50, 275n67, Lund, Ilsa, 115 276n75, 278n81, 279n83, 316n1, Lundqvist, L. O., 907 321n7, 321n8, 321n9, 323n13, Lye, Len, 361 325n20, 327n22, 331n26, 358n4, Lynch, David, 190, 425, 565, 955 359n11, 363n27, 364n32, 364n35, Lyrical documentary, 567, 569 366n40, 382n4, 382n6, 382n7, Lyrical film, 557, 558 383n8, 383n10, 386, 387n24, Lyrosophic, 562 390n39, 391n42, 392n44, 396n52, Lyrosophie, 561 403n78, 403n80, 409n3, 412n13, 413n16, 413n17, 413n18, 413n20, 414n22, 415n24, 415n27, 418n41, M 418n42, 418n45, 420n50, 421n53, Macarthur, David, 354 423n63, 424n66, 426n74, 426n76, Machiavelli, Niccolo, 759 427n81, 427n84, 431n105, Machine aesthetic, 516 432n107, 432n109, 433n112, Mack, Jodie, 569 433n113, 434n119, 605n7, 678, Mackendrick, Alexander, 218 682, 703, 731n28, 732n30, Mackie, J.L., 249 769n44, 829n5, 839n7, 848, MacKinnon, Catharine, 724, 725, 927n6, 931n17, 932n19, 750–753 939n34, 944n45, 976 Mad Max: Fury Road, 661, 668, 669 Longinus, 552 Mad Men, 130, 547, 957, 960 Long shot, 393, 504 Madonna, 742 Long takes, 83, 330, 361, 872 Maes, Hand, 722, 734, 737, 740, 741 Long-time Companion, 707 Magazine, 627, 745, 758, 953 Lopes, Damian, 988 Magimel, Benoît, 933 Lopes, Dominic McIver, 30, 35, 38, Magnolia, 803 42–44, 73, 979, 980, 983–987 Mainstream film, 39, 89, 123, 126, 137, Lopes, Garcia, 567 219, 384, 593, 653–658, 660, 661, Lord of the Rings, 171 664, 666–668, 670, 671, 673, 674, Los Olvidados, 909 707, 714, 730, 877 Louis, C.K., 230, 951 Maister, Lara, 1006 Louise and Walter Arensberg Make-believe, 97n1, 101n7, 245, 372, Collection, 716 634, 850, 851, 853, 856, 904–906 1040 INDEX

Malcolm X, 77, 77n18, 695 Masculine subject, 942 Male, 350, 450, 451, 655–659, 663, Masculinity, 668, 669, 752, 901, 910, 665–668, 679–683, 692, 709n26, 913 729, 730, 742, 768, 769, 904, 923, M∗A∗S∗H, 954 942, 943 Maslin, J., 906 Male Dominance, 654, 724, 750 Masochism, 933 Male gaze, 654–659, 657n29, 768, Masochistic pleasure, 322 769, 942 Mason, Rebecca, 673 Male supremacy, 724, 750 Mass, Willard, 556 Mallarme, Stephan, 555 Mass art, 180, 357, 364, 367 Maltese Falcon, 348, 741, 823n1 Mass culture, 315, 318–320, 332, 758, Mamet, David, 226, 227, 231 759, 766 Manchester by the Sea, 666, 804 Mass Entertainment, 357, 360, 454, 523 Mandt, A.J., 264 Massine, Léonide, 789 Manhattan, 7, 567 Massively Multiplayer Online Role Manhunt, 991 Playing Games (MMORPGs), 978, Mankiewicz, Herman J., 232, 547 978n26 Manlove, Clifford T., 658 Mateik, Tara, 715, 718–720 Mann, Aimee, 803 Material inscription, 446 Manne, Kate, 665 Materialism, 268, 272n52 Manovich, Lev, 183, 184 Materiality, 194, 308, 448, 568, 569, The Man Who Shot Liberty Valance, v, 705, 718 vi, 902 Matravers, Derek, 102, 104, 105 Man with a Movie Camera, 575, 583, The Matrix, 131, 131n34, 256, 443, 589, 590 479, 488, 593, 594, 596 Maras, Steven, 221, 222 Mauss, M., 898 Marathon Man, 847 Maximization of profit, 695 Marble, 245, 337, 784 Mayer, Carl, 225 Marcus, Laura, 631 Mayne, Judith, 703 Marcuse, Herbert, 317, 318 Maysles Brothers, 640 Margolis, Joseph, 273 Mazello, Joseph, 87 Margulies, Juliana, 129 McAlpine, Donald, 84 Marie-Antoinette conduite McBride, Jim, 637 à l’échafaud, 613 McCabe, Susan, 564 Marker, Chris, 52, 197 McCabe and Mrs. Miller, 77 Marks, Laura U., 714 McCain-Feingold, 773 Marlin, Randall, 763, 764 McCarthy, Cormac, 217 Marnie, 543 Mccollum, Thelma, 997 Martin, M.G.F., 210, 211, 812 McDermott, Marc, 121 Martinique, 683 McDormand, Frances, 801 Marty, 41, 954 McDowell, John, 263 Marvel Cinematic Universe, 128 McElwee, Ross, 633 Marx, Karl, 35, 317, 321, 331, 332, 449, McGinn, Colin, 17 451, 581, 710, 924 McGonigal, Andrew, 130 Marxism, 293, 330, 365, 383, 443, 449, McGowan, Mary Kate, 750 586, 587, 694, 710, 936 McGowan, Todd, 940 Marxist, 278, 315, 317, 320, 330, McGregor, Ewan, 84 416n28, 450, 452, 575, 577, 580, McKee, Alan, 837, 966 581, 583, 584, 586, 589, 664, 710, McLaren, Norman, 361, 370, 371 762, 775, 960 McOmber, Brian, 815 INDEX 1041

Meaning, film, 17, 609n14 Metcalf, Thomas, 476–478 Meaning-fulfillment, 290, 291 Meter, 82, 553, 569 Meaning-intention, 290 Met Opera, 26 Medea, 111 Metro-Goldwyn-Mayer, 76 Media studies, 365, 381, 382, 382n2, Metropolitan Opera, 25, 26 384, 385, 403, 701, 867, 949 Metz, Christian, 16, 17, 239n4, 240, Mediated imagined seeing, 108–110, 113 267, 286, 453, 458, 546, 559, 636, Medina, José, 669–671 867, 937, 938, 938n31, 941–943 Meditations, 594 Metzger, Radley, 728 Meditations on First Philosophy, 496 Mexican standoff, 462 Medium, 31, 192–193, 431, 796, MGM, 719 949–968, 979–980, 995–1014 Micheaux, Oscar, 682, 682n9 Medium essentialism, 454, 950, 951 Michelson, Annette, 556, 566, 574, 575, Medium, film, 255, 258, 294, 360, 361, 584, 595, 596 367, 383, 431, 454, 494, 574, 577, Mickey Mouse, 176, 186 589, 953 Middle-level research, 366 Medium of art, 238, 243n18, 245, Mid-focal-length lenses, 86 257, 335 Milk, Chris, 1003, 1006 Medium shot, 548 Miller, Arthur, 556 Medium specificity, 29–46, 192–193, 956 Miller v. California, 747 Meese, Attorney General Edwin, 748 Miller, George, 668 Meitu, 646 Millet, Kate, 654 Mekas, Jonas, 640, 642 Millgram, Y., 910 Melodrama, 247, 251, 336, 337, 340, Milner, Victor, 71, 80 352–353, 364, 663, 909, 911, 943 Mimesis, 870–874 Melodrama of the Unknown Woman, 242, Mimetic, 97n1, 120, 121, 137, 138, 339, 352–353, 364n34, 943n42 191–192, 320, 456, 690, 691, 834, Melodramatic, 544 837, 841, 926, 928, 934 Memento, 362, 377, 488, 492n2 Mimicry, 255, 396, 690, 691, 860, Memoir/memoirs, 627, 630 870, 881 Memory, 294 Mind-reading adaptations, 389 Memphis, 694 Minimalist, 7, 38, 569 Mendelssohn, Moses, 337 Minimal narrating agency, 107–109, 114 Mendes, Sam, 254 Minneapolis Civil Rights, 724 Mental simulation, 374 Mirror neurons, 146 Mental state, 125, 178, 370, 374, 393, Mirror self-recognition, 1009 398, 617, 618, 846, 858, 859, 876, Mirror stage, 271, 936–938, 938n31 879, 881, 902, 957 Mise-en-scène, 221, 225, 323, 330, 394, Merivale, A., 910 708, 709, 826, 1002 Merleau-Ponty, Maurice, 145, 267, 271, Misogynist, 556 285, 286, 288, 308–311, 513, 1008 Mississippi Masala, 256 Meskin, Aaron, 56, 209n77, 979, 987, Mitchell, Artie, 728 987n71, 988, 991, 991n83 Mitchell, Jim, 728 Messaris, Paul, 388 Mitchell, William J., 183–185, 549, 714 Metacinema, 604 Mitry, Jean, 144, 147, 152, 157, 239, Meta-critique, 691 258, 286, 359 Meta-emotions, 401 Mixed techniques, 173 Metaphors of vision, 569 Moby Dick, 18, 823n1 Metaphysics of presence, 454, 455 Mockumentary, 606 1042 INDEX

Modality of Narrative, 124–128 Motion tracking technologies, 996, Modell, Arnold, 146, 147 997, 1006 Moderate, 229n39, 534–537 Motor mimicry, 860 Modernism, 192, 327, 328, 330, 339, Motor readiness, 857 450, 526, 533, 791n19, 878 Motown Records, 696 Modernist, 555 Moulin Rouge!, 84 Modernist poet, 555, 561 Moura, Vitor, 629n8 Modern Times, 256, 577, 581, 596 Movement, 23, 59–67, 82–88, 149–151, Modifying Function, 804, 818 285–311, 460, 461 Modulation, 80, 81, 89, 153, 159, Movement-image, 20, 21, 23, 458–464, 255, 463 523, 524, 527 Molina, Angela, 849 Moverman, Oren, 932 Monetary value, 321 Movie (journal), 433 Money shot, 723, 728 Moving image, 12n18, 22–24, 24n35, Monism, 808 49–68, 119–139, 381–404, Monogamy, 720 757–779, 982 Monolithic, 240, 454, 806, 878 Moving Pictures, 9, 9n12, 22–24, 52n8, Monopoly: Electronic Banking, 973 271n46, 587 Monosexual, 720 Mr. Payback: An Interactive Movie, 983 Monster, 678 Mulatto, 680 Montage, 238n3 Mulhall, Stephen, 308, 354, 531–533, Montage editing, 149, 238, 253, 535, 536, 839n7 254, 763 Mullarkey, John, see Ó Maoilearca, John Montague, Richard, 277 Müller-Lyre example, 204 Mood, 401–402 Müller-Lyre lines, 204 Mood-congruent, 855 Multimodal, 583, 809, 812, 871, Moore, G.E., 268 1010, 1011 Moore, Margaret, 806, 807 Multimodal art, 802, 811 Moore, Rich, 87 Multiple authorship, 22, 89, 219, 220, Moral, 469, 506n15, 882, 884 226–228, 232 Moral assumptions, 535 Multiracial, 678, 692n22, 704 Moral-emotional appeal, 881 Mulvey, Laura, 768, 768n43, 769, 942, Morality, 279n83, 735 942n40, 943, 943n41 Moral psychology, 382, 399, 403, Murder My Sweet, 100 884–886 Murdoch, Rupert, 771 Moral register, 344 Murnau, F.W., 37, 225, 238n3, 545, 682 Moral valence, 882 Murphy, Jeffrie, 481 Moran, Richard, 472, 475, 486 Museum of Contemporary Art, 999 Moritz, Karl Phillipp, 553 Music, 196, 202, 803–813, Morreall, J., 912–914 815–818, 907 Morris, Errol, 634 Musical, 805, 807n28, 816 Mortensen, Chris, 67 Musique concrete, 813, 815 Mortensen, Viggo, 934 Müstergerg, Hugo, xxv, 30, 144, 191, Moscow, 317 359, 383, 528, 794n31 Moscow Film School, 762 Muzak, 816, 817 Moser, Christian, 628 My Beautiful Broken Brain, 627, A Most Violent Year, 222 629, 646 Mother!, 174, 807, 814 Mycenaean, 8 Mothlight, 51, 171 My Puberty, 642 INDEX 1043

Mystery of the chateau of Dice, 564 Neo-Kantian, 962–964 Myth, 686, 783–799 Neo-Thomism, 262 Mythological, 271, 337, 442 Neumann, Franz, 317 Mythopoetics, 691 Neuroaesthetic, 517 Neurocinematics, 382n7, 397n57 Neurology, 395 N Neuroscience, 382n7, 397n58 NAACP, 771 Neuroscientific, 873 Name-calling, 759, 765 Neurotransmitters, 396 Nannicelli, Ted, 30, 35, 40–42, 40n5 Neutralization, 191, 192 Nanook of the North, 246, 607, 762 Neutral Propaganda, 760–763 Narration, 98–102, 114–115 New Cognitivism, 247, 247n33, 248, Narrative, 104, 119–139, 151, 250, 368, 254, 257 391–394, 605n7, 630–635, 655, New Critics, 420n52, 421, 425 754, 768n43, 942, 942n40, 943n41 New Deal, 317 Narrative dynamics, 120–124, 136 New German Cinema, 328–330 Narrative fiction, 71, 74, 75, 103, 372, Newhart, Bob, 548 377, 493, 494, 560, 865, 865n1 Newman, Barnett, 51 Narrative film, 371 Newman, Michael Z., 128, 129 Narratively incoherent, 868 New-media, 715, 719 Narrative poem, 555, 556 News magazine, 953 Narrative structure, 248, 251, 252, 290, Newspaper, 7, 72, 184, 488, 555, 394, 485, 495, 496, 611, 629–631, 768, 789 664, 713, 728, 873, 907, 939n33, Newsreels, 757 953, 956, 971 The Newsroom, 218 Narrator, 98, 100–102 Newton, Isaac, 925 Nash, Kate, 1005, 1006, 1013 New York, 26, 52n8, 74n7, 83n31, National cinema, 216, 364, 431 84n32, 87n35, 89n43, 90n45, National Film Board of Canada, 762 122n6, 131n34, 167n2, 168n5, National Socialism, 329 173n10, 179n22, 182n32, 191n3, Native Americans, 681 215n3, 217n11, 218n12, 219n15, Natural attitude, 292 228n37, 231n40, 240n5, 261n6, Naturalism, 386–391 264n16, 265n22, 268n32, 271n49, Naturalistic, 82, 190n2, 192, 271, 272, 272n53, 276n76, 279n84, 306, 293, 381, 386, 388, 390, 812, 849, 315, 317, 319, 320, 321n8, 853, 873 331n26, 332n27, 336n3, 336n4, Nazi, 104, 316, 757, 763 341n19, 354n44, 361n21, 362n25, Nazimova, 562 363n26, 365n37, 365n38, 376n80, NEA, 979 377n83, 382n4, 382n6, 382n7, Need for Speed, 978 383n8, 383n10, 383n11, 384n13, Negative Dialectics, 325 385n15, 386, 387n24, 391n42, Negative Emotions, 909–913 392n44, 396n52, 396n54, 399n63, Negative Propaganda, 763–765 403n78, 403n80, 404n82, 411n11, Negotiation, 660 412n13, 413n18, 414n23, 418n42, Negt, Oskar, 327, 328 418n45, 423n63, 424n66, 427n81, Neo-avant-garde, 716–718 427n84, 428n86, 430n102, Neo-Brechtian aesthetics, 383 432n107, 433n110, 433n112, Neo-classical, 552, 557 434n119, 435n125, 546, 556, 566, Neo-formalist, 145 604n2, 605n7, 639n28, 678, 702, 1044 INDEX

New York (cont.) Non-philosophical, 262, 264, 537 711, 723n2, 724n6, 731n29, Non-representationalist, 526 748n83, 751n94, 752n97, 752n98, Non-technicist, 527 757n1, 757n2, 759n6, 759n8, Nontransgender, 711 761n9, 761n10, 761n11, 762n13, Noonan, Tom, 501, 502 763n19, 764n22, 764n25, 766n34, Normandy, 615, 616 768n40, 770n46, 770n47, 771n52, North by Northwest, 709 847, 848, 928n7, 928n8, 931n17, Norton, Edward, 126 939n32, 939n34, 940n37, 955 Nosferatu, 682 New York City, 26, 306, 556, 847, 848 Nostalgia, 546 New Yorker, 818, 831, 834 Noth, Chris, 129 New York Times, 335n1, 665, 707 Novel, 16, 62, 99, 106, 111, 119, 121, Nichols, Bill, 608, 608n13, 616, 621, 124, 129, 130, 137, 217, 242, 256, 628, 641–643, 643n35, 850n10 275, 318, 337, 373, 419, 449, 458, Nicholson, Jack, 808 471, 473, 475, 476, 478, 485, 486, Nicomachean Ethics, 579 489, 553, 554, 565, 577, 585, 586, Nicotra, A., 896 598, 622n48, 682, 683, 815, 823, Nietzsche, Friedrich, 263, 444, 449, 847, 850, 856, 859, 865n1, 868n9, 451, 455, 526, 530, 586, 770, 930, 955, 959, 974, 995 818, 936 Noverre, Jean-Georges, 787n12 Nigeria, 148, 683 Now, Voyager, 935 Nigerian, 688 Nowhere in Africa, 104 Night of the Living Dead, 690 Nozick, Robert, 760 Night scenes, 37, 566 Nudity, 727 Nihilism, 519, 522, 525–527 Nuñez, Victor, 932 Ninotchka, 80–82, 89 Noble Lie, 759 Noema, 265 O Nolan, Christopher, 108, 123, 364, Oakland, Simon, 936 659, 848 Oatley, K., 907 No Lies, 606 Obama, Barack, 773, 778, 779 Nollywood, 683, 687 Obduction, 976 Non-cinematic image, 166 Oberfeld, D., 907 Non-cognitive theory, 897 Oberhausen Manifesto, 329 Non-diegetic music, 803, 804 Objectification, 722, 726 Non-digital movie camera, 166 O Brother Where Art Thou?, 78 Non-digital screening, 171 Obscene, 681, 724, 746, 747, 941 Non-dominant, 657, 673 Observational documentary, 608, 609, Nonevents, 678 611n22, 614, 616, 620 Nonfiction, 605n6, 605n7, 635–638 Observation sentences, 825, 826 Nonfictional mode, 606 O’Callaghan, Casey, 802 Nonfiction Film, 605n6, 605n7 Occlusion size, 85, 86 Non-hierarchical, 451 Ocean’s 8, 665 Non-interactive artifacts, 986 O’Connor, Carroll, 951 Non-linguistic, 266, 456, 460, 463, 554, October, 78n20, 247n33, 382n2, 444, 582, 583 575, 586, 942n39 Non-mainstream, 551 O’Donnell, Victoria, 774 Non-narrative, 149, 365, 368, 371, 557, Oedipus, 33, 829n5, 931 569, 730, 1003 Oedipus Tyrannus, 931 INDEX 1045

Offenbach, Jacque, 788, 789 Othello, 112, 113, 342–344, 348, The Official Story, 909 354n45 Offline, 858, 875 The Other, 448, 450, 451 Of Grammatology, 444, 719n49 The Outer Limits, 469 O’Hara, Scarlett, 105 Out of body illusion, 1007 Oil, 172, 245, 545 Outsider Art, 180 Oldham, Gabriella, 160 Owens, Joseph, 268, 269 Oldman, Gary, 135 Oz, 107 Oliver, John, 772 Ozawa, Shigehiro, 682 Oliver, M. B., 913 Ozu, Yasujiro, 522 Olsen, Bree, 728 Olsen, S. H., 97, 411 Olson, Charles, 567 P Olson, K. R., 911 Pacing, 151–156 Olympia, 757 Pacino, Al, 9 Ó Maoilearca, John, 279, 280n88 Pac-Man, 983 Once Upon a Time in the West, 307 A Page of Madness, 909 Oneohtrix Point Never, 804 Pain, 87, 112, 270, 401, 485, 487, 502, One Second in Montreal, 197 508, 509, 633, 711, 724, 871, 905 One Sixth of the World, 557 Painting, 80n22, 786 Only Angels Have Wings, 769 Paint on glass, 173 On the Genealogy of Morals, 586 Palcey, Euzhan, 682 On the Sublime, 552 Panning, 44, 45, 87, 246, 419, 996 Ontological, 98, 102–106, 113, 114 Panofsky, Erwin, 238, 241, 242, 258, Ontological demarcation, 603, 620 521, 797 Ontological Gap, 98, 102–106, 113, 114 Paper, 130, 173, 180, 245, 338n11, 347, Ontology, 3–26, 221–225, 337, 359 348, 367, 444, 469, 476, 476n13, Ontology of film, 3–5, 8–11, 15, 16, 20, 496, 587, 590, 613, 618n40, 623, 22, 24, 26, 221, 310, 311, 336, 798, 858n25, 876n28, 934 337, 345, 348–350, 521 Papineau, David, 272 The Opening of Misty Beethoven, 728 Papini, Giovanni, 515 Opera, 25, 112, 129, 192, 193, 336, Paradigm shift, 266n25, 455, 702n10 788, 804n12, 818, 981 Paradox, 909–913 Operation Rescue, 705 Parametric narrative, 458 Ophuls, Max, 249, 544 Paranormal Activity, 606 Oppenheimer, Joshua, 504–506, 634 Paraphrase, 583 Oppositional gaze, 660, 663, Parfit, Derek, 274 664n30, 669 Paris, 41, 80, 82n24, 229n38, 278, 319, Oppression, 330, 658, 670, 682, 767, 330, 445n17, 508, 544, 561, 564, 774, 909 604n3, 678, 703n11, 766n31, 788, Optical printer, 74, 83, 84 941, 999 The Ordinary Man of the Cinema, 523 Paris Adult Theatre I v. Slayton, 747, 748 Ordinary Stream, 678 Paris, Texas, 932, 941 The Origin of the World, 742 Parks, Gordon, 690 Orlean, Susan, 829–832, 829n6, Parmar, Pratibha, 704 834–839 Parmenides, 352 Orpen, Valerie, 146, 147 Parodies, 277, 730 Osborne, Harold, 411 Participation theorists, 853 1046 INDEX

Participatory documentary, 642 Performance token, 195, 197n27, Participatory imagining, 854 811n43, 975, 978 Pasolini, Pier Paolo, 556–568 Performative documentary, 608, 616 The Passion of Joan of Arc, 462 Peripersonal neurons, 1010 Passive position, 942 Peripersonal space (PPS), 1010, 1011 A Patch of Blue, 680 Periscope, 774 Pat Garrett and Billy The Kid, 807 Perkins, Victor, xxv, 32, 123, 124, 134, Pathography, 929–930 219, 363, 421, 425, 434, 436, Páthos, 869 783–787, 793 Paton, M., 910 Perlocutionary act, 778, 779 Patriarchal, 654–657, 660–672, 674, 769 Persepolis, 642 Patriarchal Ideology, 660, 661, 663, Persona, 103, 545, 583 667, 668 Personal identity, 264, 274, 302, Patriarchy, 665, 666, 768, 769, 942 303, 362 Patterson, John, 547 Personal narrative, 631 Peacock, Steven, 961, 962 Perspective taking, 399, 486, 671, 875 Peanuts, 72 Pessimism, 767 Pearlman, Karen, 146, 148, 160 Phaedrus, 927, 927n3 Peckinpah, Sam, 807 Phallus, 675 PECMA flow, 400 Phantasy, 294, 298–300 Peeping Tom, 398 The Phantom Menace, 7 Peele, Jordan, 693 Phantom nose illusion, 1007 Peirce, C.S., 269, 458, 459, 462, Phenomenological, 285–311 678, 714 Phenomenological attitude, 292, 293 Peircean, 458, 460, 462 Phenomenological contact, 610 Penn, Arthur, 371 Phenomenology, 266n25, 286–294, Penn, Matthew, 547 300–301 Pennebaker, D.A., 637, 640 Phenomenology of film, 288, 291, 300, People of color, 682 346, 359, 812 People v. Freeman, 749 Philadelphia, 349, 350, 403, Percepts, 522, 523 417n36, 716 Perceptual-affective, 523, 524 Philadelphia Museum of Art, 716 Perceptual imagining, 107, 114, 114n22 The Philadelphia Story, 344, 349, 351, Perceptual monism, 808, 809 354n45 Perceptual phantasy, 298–300 Philippot, P., 894 Perez, Gilberto, 390, 391 Phillips, Dawn, 33, 54 Pérez, Héctor J., 871 Philosophical argumentation, 256 Perfectionism, 338–345, 351 Philosophical filmmaking, 491–511 Performance, 8, 24, 25, 33, 39, 43, 44, Philosophical film theory, 513–515, 531 44n6, 72, 150, 151, 153, 156, 166, Philosophical Investigations, 338, 425n73, 195, 196, 197n27, 221–223, 225, 575n9, 577, 583 227, 244, 246, 298, 299, 413, 417, Philosophical thought experiments, 473 425, 428, 432, 481, 529, 616, 665, Philosophy of Art, 424n66 685, 691, 692, 696, 709, 718, Philosophy of mind, 270, 662, 870 718n48, 719, 726, 749, 752, 786, Philosophy of television art, 961 789, 790, 808n28, 811n43, 816, The Philosophy of the 898, 929, 958, 975, 978, 979, 986, Cinematograph, 516 999, 1011 Phonemes, 446 INDEX 1047

Phonetic, 446 318, 325, 326, 328, 338, 346, 348, Photocopies, 173 350, 370, 372, 374, 388, 394, 398, Photogénie, 563, 703n11 400, 402, 414, 434, 441, 442, 444, Photographic images, 615 461, 469, 472, 486, 497–499, 502, Photographic lens, 323 505, 506, 521, 527, 545, 558, 567, Photographic trace, 173, 185, 609, 585, 606, 621n46, 632, 645, 656, 609n14, 612–615, 621, 622, 660, 672, 673, 685, 687, 693, 696, 624, 625 700, 710n28, 710n31, 711, Photography, 73, 174n13, 521, 761, 786 719n49, 728, 729, 742, 755, 796, Physical media, 29, 951 803, 805, 808, 809, 815, 818, The Piano, 77, 903 823–825, 828, 830, 835–837, 845, The Piano Teacher, 933 847, 849, 851, 852, 854, 856, 858, Picasso, Pablo, 207, 833 880, 884, 893, 899, 901–903, 909, Pickford, Mary, 558 914, 915, 927, 928, 931, 932, 934, The Pickwick Papers, 130 935, 953, 973, 986, 988 Picnic, 764 Playwright, 556, 685, 797, 928 Pictorial Representation, 13, 178 Pleasure, 693 Picture-maker, 71, 82, 84 Plot, 903 Piecemeal theorizing, 365, 385, 403, 796 Plutocrat, 696 Pierrot le Fou, 544 Poet, 38, 111, 113, 553, 555, 556, 559, Pinocchio, 693, 694 561, 564–565, 567, 685, 694, 695, Pinocchio illusion, 1006–1007 735, 759, 927, 928, 934, 939n34 Piotrovskij, Adrian, 556–564, 566 Poetic, 553, 564 Pirates, 728 Poetic Cinema, 551 Pisters, Patricia, 263, 272 Poetic documentary, 934 Pitt, Brad, 240 Poetic function, 553, 554, 558, 568 Pity, 856 Poetic mimêsis, 926 Pixel, 78, 184, 1000 Poetic production, 564 Pixilation, 170, 173 Poetics, 110, 147, 247, 556, 829n5 Pizzolato, Nick, 218 Poetic speech, 553 Plain folks, 765 Poetry, 552–554, 556–564, 568, 788, Planet Earth, 955 927–928 Planned Parenthood, 705 Pointillist painting, 63 Plantinga, C., 254, 255, 271, 376, 395, Point-of-view (POV), 16 399, 403, 590, 612n22, 619n41, Point-of-view shot, 113, 248, 560, 859, 628, 636, 637, 873, 878, 880, 859n38 881, 884 Poitier, Sidney, 680, 902 Plaster, 245 Pokémon Go, 976, 977 Plato, 344, 472, 474, 491, 498, 499, Police, 202, 510, 547, 668, 689, 552, 685, 759, 787, 867, 925–929, 690, 904 927n5, 933, 939–941 Political aesthetics of race, 691–696 Platonism, 265, 267 Political art, 693 Playboy, 742 Political correctness, 384n12, 455 Plays, 10, 13–16, 19, 20, 23–26, 30, 31, Political economy, 316, 641 111–113, 115, 123, 127, 129, 146, Political modernism, 526 147, 160, 167, 174, 175, 182–184, Political philosophy, 274, 760 196, 199, 200, 202, 203, 221–223, Politique des auteurs, 639 226, 242–244, 246, 248, 249, 251, Polley, Sarah, 634, 634n17, 635, 642 255, 270, 277, 289, 292, 298, 299, Pollock, Friedrich, 317 1048 INDEX

Polyphonic, 669 Pragmatist, 338, 340, 446, 678, 775 Pompidou Center, 999 Prague linguistic circle, 446 Ponech, Trevor, 51, 52, 598, Pramaggiore, Maria, 201 619n41, 628 Pratt, Henry John, 958 Pong, 972 Predictive coding, 1012 Pontalis, J.B., 708 Preminger, Otto, 709 Poor People’s Campaign, 694 Presence, 16n24, 61, 98, 109, 110, 113, Pop art, 327 114, 121, 138, 156, 185, 196, 199, Populist, 661 202, 254, 258, 262, 288, 289, 297, Pornographic film, 729, 754, 755 301–305, 307, 330, 332, 338, 341, Pornography, 721–755 347, 413, 419, 420, 423, 442n4, Portraiture, 193, 642 445, 450, 452, 452n31, 454, 455, Post-broadcast era, 950 488, 495, 501, 506, 508, 521, 553, Post-Freudian, 497 555, 616, 629, 634, 635, 637, 638, Post-Kantian, 242n16, 262 640, 644, 647, 648, 657, 677, 679, Post-Marxist, 315 683, 684, 691, 726–728, 731, 732, Postmetaphysical, 530 742, 744, 745, 766, 784, 785, 805, Postmodern, 636, 647 846, 853, 855, 856, 934, 940n36, Postmodernist art, 717 971n2, 995, 1003–1005, 1010 Post-network era, 950 Presentness to the world, 521 Postproduction, 501, 814 President McKinley at Home, 761 Poststructuralism, 441–464 Pressburger, Emeric, 784, 789, 792, 798 Poststructuralist, 315, 442–445, 442n4, The Prestige, 123 447–460, 462–464, 636, 641, 643 Pretty Poison, 933 Post-television era, 950 Pretty Woman, 256 Potentiated double consciousness, 689 Pre-verbal intelligible content, 459 Pouissin, Nicolas, 337 Price, Steven, 222 Pound, Ezrac, 567 Price, T.F., 894 POV, 876, 877 Priest, Graham, 67 Powell, Michael, 784, 788, 789, 791n22, Prieto, Rodrigo, 86 792, 798 Prime-time serial, 128, 129 Powell and Pressburger (aka The Prince, Gerald, 124 Archers), 789, 792, 798 Prince, Stephen, 404 Power, 9, 40, 71, 81, 88, 89, 91, 120, Princess Leia, 659, 661 144, 159, 174, 190, 193, 201, 202, Prinz, J.J., 895–898, 907 227, 229, 249, 274, 280n88, 287, Pro-attitude, 879 295, 303, 305, 308, 311, 324, 338, Problem of evil, 362 392, 393, 404, 416, 442, 449–452, Production code, 546 452n31453, 454, 455, 459, 463, Pro-filmic, 166, 167, 171–173, 506, 516, 523, 524, 526, 527, 531, 175–177, 183–186, 204, 612n22 533, 556, 564, 565, 610, 613, 625, Pro-filmic event, 167, 171, 175–177, 632, 634, 636, 642, 669, 686, 692, 183–185, 605, 608, 610, 612 710n27, 717, 724, 751, 758, 762, Project X, 988 764, 767, 771, 772, 779, 785, Projector, 564 789–791, 793–795, 797, 799, Proletariat, 320, 328 835, 839, 852, 885n67, 926, 927, Propaganda, 691, 757–779, 774n66 940, 978, 1003 Propagandist, 622, 760, 764, 767, 774 Practical Philosophy, 340, 343 Propositional imagining, 847 Practical Wisdom, 256, 304 Propositionally true, 848 INDEX 1049

Propositional node, 609 Queensland, 1001 Proprioceptive, 1005, 1007, 1009, 1010, Queer, 699–720, 703n11 1013, 1014 Queer avant-garde, 716, 718, 720 Prose narrative, 559, 561 Queer bisexual, 720 Prospection, 119, 122, 123, 125, 132 Queer cinema, 700, 707, 708, 715, 720 Protagonist, 41, 80, 86, 90, 122, 125, Queer cinematic, 709, 716, 718, 720 126, 136, 138, 247, 251, 253, 304, Queer critical discourse, 710 305, 345, 351, 353, 373, 382, 391, Queer culture, 708, 719 399, 400, 403, 470, 565, 593, 627, Queer filmmaker, 707 629, 633, 638, 641–643, 647, 656, Queer-film philosophy, 699–720 657n9, 659, 661, 665, 666, Queer-film theory, 700–705, 708, 710, 667n41, 690, 693, 695, 728, 768, 713, 715, 719 848, 849, 856, 868, 869, 881, 883, Queer images, 706–708 931, 957 Queer intellectual movement, 711 Proteus effect, 1011, 1013 Queer politics, 712, 719 Proto-thinking, 530 Queers, 315, 660, 670, 699–720 Prototype theory, 199 Queer theoretical, 719 Psycho, 290, 543, 936 Queer theory, 699–701, 711 Psychoanalysis, 701, 923–944 Quesnoy, Pierre, 528 Psychoanalytic, 20, 252, 315, 317, 358, Quine, W.V.O., xxv, 265, 270, 338, 443, 452–454, 456, 458, 459, 464, 825–828, 832, 833, 835, 836, 631, 656, 657, 659, 661, 663, 664, 838–841 667, 709, 713, 769, 805, 816, 924, Quinlivan, Davina, 273 926–929, 932–939, 941–944 Quinn, Warren, 481 Psychological convergence, 881 Quoidbach, J., 913 Psychological prompts, 880 Psychologism, 289 Psycho-semiotic/poststructuralist, R 383–385, 383n11, 384n12, The Rabbit of Seville, 246 443, 463 Race, 399n64, 677–697, 715 Psycho-semiotic theory, 383–385, Race stories, 679 383n11, 384n12 Race theory, 705 Psychotechnology, 144 Rachels, James, 480, 481 Psychotherapy, 630, 631, 934 Racialized subjects, 678 The Public Enemy, 228 Racism, 43, 330, 399, 403, 677, 688, Pudovkin, Vsevolod, 29, 35, 150, 691, 878, 909 319, 393 Racist, 680 Punctum, 457 Racist anthropology, 680 Puppets, 173 Radcliffe, Daniel, 135 Pure semiology, 459 Radford, C., 14n20, 904 Pure Sounds, 810, 816, 817 Raging Bull, 792, 793 Purves, Duncan, 480 Ragtime, 217 Pye, Douglas, 134–136, 135n47, 435 Rain, 567 Rains, Claude, 935 Raising Arizona, 810 Q Raison in the Sun, 902 Quadrilogy, 531 Rancière, Jacques, 276, 278 Quai du commerce, 868 Rango, 91 Quasi-subject, 524 Rape, 229n38 1050 INDEX

Rapper, Irving, 935 Rembrandt, 73 Ratcatcher, 909 René, Norman Rate of change, 153, 154 Renoir, Jean, 44, 45, 238, 238n3, 239, Rate of cutting, 153, 154 370, 372, 522 Rationalism, 451, 562 Renov, Michael, 636, 643–645 Rawls, John, xxv, 343, 727, 760 Repertory, 366 Ray, Charles, 562 Representation, 174n13, 701 Ray, Man, 555, 557, 564 Representation of women, 661, 708 Ray, Nicholas, 249 Representationalist, 65, 458 Ray, Satyajit, 542 Representation-by-origin, 612n24, 620 Rea, Michael, 726 Representation-by-use, 612, 612n24, Rea, Stephen, 714 620, 624 Ready-mades, 43, 44n6, 288, 308, 743 Repression, 272, 924, 925, 934 Reagan, Ronald, 748, 773 Reproducibility, 319 The “Real,” 552 Republic, 491, 498, 552, 685, 787, Realism, 10–13, 200–211, 238n3 925–930, 927n5, 934, 941 Realist, 610–617 Republican, 272, 924, 925, 934 Realistic Heuristic, 97, 110–113 Reservoir Dogs, 462 Realist Theory of Documentary, 608, 609 Resistance to theory, 537 Reams, Harry, 729 Resistant Imagination, 666, 669–672 Rear Window, 4 Resnais, Alain, 249, 253, 522 Recognition, 58, 114, 119, 122, 123, Response-dependent, 60–63, 65, 908 125, 127, 132, 133 Retrospection, 119, 122, 123, 125 Recognition Prompt, 114 Return of the Jedi, 206, 659 Recollection, 632, 641, 644 Revaluation, 430n100 Reconstruction, 679, 758 Rhetorical address, 127 Recyclomation, 173 Rhetorically, 504, 534, 583 Red Desert, 560 Rhu, Lawrence, 354 Redemption of physical reality, 325 Rhythm, 143–161 Reds, 88 Rhythm and blues, 687 The Red Shoes, 783–799, 791n22 Rhythm in film editing, 160 Reed, Carol, 126, 363, 373, 535, 579 Rich, B. Ruby, 700 Re-enactments, 634 Richards, Ariana, 87 Reisz, 153 Riggs, Marlon T., 633, 642, 707 Reflective light meter, 82 Riley, Boots, 693 Reflexive, 276, 279, 575, 596, 608, Riley, Raymond Lawrence, 693 642, 848 The Rime of Ancient Mariner, 555 Reflexive documentary, 642 Rio Lobo, 544 Reframe, 42, 87, 520 Riva, Emmanuelle, 508 Reggae, 687 Rizzolatti, Giacomo, 870, 871, 1010 Regulation, 271, 725, 748, 749, 773 Road movie, 335 Reininger, Lotte, 170 Robbins, Tim, 125 Reisz, 153 Rockford Files, 547 Reitz, Edgar, 324, 329, 330 Rocky Horror Picture Show, 372, 987 Relational Theory of Documentary, Rocky III, 803 609, 610 Rodowick, David, 247n33, 252n48, Relationships of intensity, 152 257n68, 354, 382n2, 658, 699 Relativism, 130, 362, 661, 663, 684 Rogers, Ginger, 239 Reliabilism, 340 Rolston, Adam, 717 INDEX 1051

Roma (Gypsies), 679 The Same, 448–451 Romance, 349, 688, 735, 808, 823, 914 Samsung, 996, 1000 Romantic, 552, 593 Samurai, 741 Romantic comedy, 250, 364 San Filippo, Maria, 720 Romero, Oscar, 791n22, 792 Sanders, M., 913 Roosevelt, Franklin, 317 The Sands of Dee, 554, 555 Roots, 954 San Francisco: Aftermath of an Rope, 304, 305 Earthquake, 761 Rorty, Richard, 263, 269, 275 Sankofa, 690, 909 Rosar, William H., 804 Sansho the Bailiff, 902 Rose, Mandy, 1006 Sarbin, T.R., 897 Rosen, Marjorie, 654, 655, 662 Sarcasm, 720 Rosenthal, Judah, 498, 499 Sarris, Andrew, 544, 545, 639n28 Rossellini, Roberto, 370, 522 Sartre, Jean-Paul, 274, 497, 513 Rosto, 173 Satrapi, Marjane, 642 Roth v. United States, 746 Saturday Night Live, 765 Rothman, William, 336, 354 Saussurean linguistics, 383 Rotoscoping, 171 Saw, 803, 813 Rouch, Jean, 640 Say Anything, 803, 807 Roudinesco, Élisabeth, 710n31 A Scanner Darkly, 7, 181 Rough, Brock, 981 Scenes of empathy, 873 Rough heroes, 882 Scepticism, 182n32, 520 Rousseau, Jean-Jacques, 759 Schachter, S., 896 Rowling, J.K., 136 Schadenfreude, 868 The Royal Tenenbaums, 100 Schaper, E., 910 Rubber hand illusion, 1007 Schatz, Thomas, 252, 253, 255 Ruby in Paradise, 932 Schefer, Jean-Louis, 523 Rudo y Cursi, 202 Scheirl, Hans, 713, 714 Rules of the Game, 398, 546 Scherer, K. R., 895 RuPaul’s Drag Race, 715 Scherer, Thomas, 147 Russell, Bertrand, 67, 760, 761 Schiller, Friedrich, 324 Russell, Bruce, 594–595 Schlöndorff, Volker, 324, 329, 330 Russell, J. A., 904 Schmerheim, Philipp, 182, 182n32, 183 Russia, 580, 696, 762 Schmidt, Paul, 154 Russian Formalist, 248, 446, 553, 557 Schoonmaker, Thelma, 792, 793 Rutherford, Ann, 714 Schopenhauer, Arthur, 500, 503, 504 Ruttman, Walther, 567 Schrader, Paul, 544, 791n22 Rux, Carl Hancock, 8 Schulman, Sarah, 715 Ryan, Marie-Laure, 124–126, 131 Science, 270–272 Ryle, Gilbert, 263, 357n1 Science fiction, 109, 243, 364, 469, 483, 486, 493, 682, 684, 1001 Sciences of the brain, 458 S Scientism, 270–272 Sabiston, Bob, 172, 181, 182 Scopophilia, 656, 925, 938, 938n30 Saccadic, 528 Scorsese, Martin, 239, 546, 791–793, Sagan, Carl, 613 791n22, 797–799, 955 St. Augustine, 693 Scott, Ridley, 301, 364, 474, 493, 531, Salt, B., 76, 154 1000 Samba, 687 Screen, 272n53, 442, 942n40 1052 INDEX

Screening, 65, 110, 170, 171, 183, 246, A Sentimental Bloke, 554 345, 506, 529, 534, 562, 567, 598, Sequencing, 136, 237, 249, 762 637, 757, 940, 987 Serene Velocity, 575, 587, 588, 588n44, Screenplay, 9, 15, 16, 20, 23, 24, 26, 590, 595, 619n43 126, 215–217, 220–223, 221n21, Serial fictions, 130, 131 225–228, 231, 232, 383, 502, 503, Serial narratives, 128–132, 958, 959 547, 829, 829n5, 841 Series, 543–549 Screen time, 19, 127, 369, 729, 730, 958 Serino, Andrea, 1006, 1009 Script-fic, 216 Serres, Michel, 447 Scripts, emotion, 903, 904 Sesonske, Alexander, 165, 175–178, 182, Scriptwriting, 829 183, 185, 186, 357, 359, 366–377 Scruton, Roger, 74, 174, 419, 960, 964, Set design, 32, 90, 126 967, 980 Se7en, 77, 803n8 Sculpture, 11, 24, 196, 198, 224, 245, Seventh Seal, 544 363, 419, 734, 791, 837, 926, 930, The Seven-Ups, 938 984, 986 Sex, 731, 740, 754, 755 Scum, 909 Sex act, 728, 732, 737, 739, 740, 746, Searle, John, 474 749, 753 Seashell and the Clergyman, 564 Sexism, 330, 660, 688, 753, 972 Season, 132 Sexual, 255, 414, 656, 659, 678, Second-screen viewing, 968 692n22, 696, 702, 704, 705, “Second-wave” feminist, 705 709–712, 714n41, 715, 720, Secret Sunshine, 425 724–727, 730–733, 737–740, Seeing, 81, 107–108, 115, 121, 371, 487 742–744, 746–753, 755, 895, Seeing-in, 852 898, 905, 964, 991 Seeing/Showing argument, 107–108 Sexual activity, 725, 748 Seel, Martin, 258 Sexual content, 726, 732, 742 Seidel, A., 907 Sexual desire, 659, 702, 705, 711, 720, Seitz, John F., 72 726, 733, 743 Self, 868n9 Sexual difference, 656, 705 Self-defeating quality, 612 Sexual ethic, 725 Selfie, 628 Sexual expression, 725 Self-other differentiation, 399 Sexuality, 454, 642, 657, 683, 701–703, Sellars, Wilfrid, 271n47, 798 702n10, 712, 720, 721, 723–725, Semiological systems, 446, 448 730, 731, 733, 735, 736, 744–746, Semiology, 446, 447, 458, 459, 462 750, 752–755 Semiotic linguistics, 443 Sexual material, 726 Semiotic/semiotics, 20, 267, 293, 307, Sexual organs, 725 383, 384, 443, 452–454, 456, Sexual representation, 725, 753 458–460, 462–464, 546, 559, 709 Shades of Doom, 973 Sensorimotor, 159, 996 Shadows, 909 Sensory alignment, 1005 Shaft, 690 Sensory Ethnography Lab, 569 Shaft in Africa, 690 Sensory imagining, 847 Shakespeare, William, 34, 113, 298, 339, Sensory media, 677 354, 931n15 Sensory-motor, 146, 458, 463, 522, Shallow-focus, 83, 84 524, 525 Shame, 909 Sensuality, 254 Shargel, D., 897 Sensuous media, 395 Sharits, Paul, 51 INDEX 1053

Sharpness, 696 Signs, 90, 384, 388, 443, 446–447, 449, Shaver, P., 897 452, 457, 459, 462, 463, 552, 553, Shaviro, Steven, 1008 559, 561, 568, 619, 679, 696, Shaw, Dan, 278, 813n50, 873, 873n26 725, 778 Shaw, George Bernard, 786, 790 The Silence of the Lambs, 296, 299, The Shawshank Redemption, 132 823n1 She Must Be Seeing Things, 702 Silent films, 29, 31, 31n1, 34–35, Shearer, Moira, 788, 795 191–193, 196–198, 238, 323, 359, Sheller, Charles, 569 566, 654, 810, 811 Shelley, James, 53, 54, 66 Silverlake Life: The View From Here, 633 Sherlock Holmes, 41, 98, 99, 130 Silverman, Kaja, 240, 453, 702n9, Sherman, Cindy, 628 708, 709 Sherman’s March, 632, 644 Silverstone, Roger, 962 Sherman tank, 615, 616 Simmons, W. K., 753n107 Shin’ichi Chiba, 682 Simon, David, 218 The Shining, 808, 859 Simon, Neil, 14 Shirky, Clay, 644 Simondon, Gilbert, 272, 445n17 Shklovsky, Viktor, 553, 554, 558 Simons, R. F., 907 Shock, 127, 158, 319, 414, 449, The Simpsons, 180, 533, 958 516, 523–526, 529, 827, 838, Simulation, 858–861 903, 967 Sinatra, Frank, 957 Shock-experiences, 319, 526 Sinclair Broadcasting, 772 Shooting angles, 1002 Singer, J.E., 896 Shooting distance, 1002 Singer, Peter, 476–478 Short stories, 131, 231, 553, 788 Sinigaglia, Corrado, 870, 871, 871n14 Shots, 6, 11, 14, 16, 74, 83, 85–87, 89, Sinn, 265 103, 109, 113, 146, 149, 152–158, Sinnerbrink, Robert, 257, 257n68, 263, 166, 170, 172, 176, 237, 241, 248, 276, 294, 308, 354, 363, 403, 472, 249, 307, 311, 325, 370, 389, 398, 578, 634, 878 412, 459, 494, 495, 500, 529, 548, Sitcom, 41, 953 554, 560, 562, 566, 581–583, 586, Sitney, P. Adams, 556, 559, 561, 588–590, 596, 615, 723, 728, 730, 566, 567 731, 745, 762, 789, 790, 798, 801, Six Feet Under, 218 849, 859, 876, 877, 1002 A Sixth Part of the World, 575, 576, Showrunner, 218 580–583, 585, 591, 597 Shrage, Laurie, 656 The Sixth Sense, 123 Shrek, 72 Sixties art cinema, 253, 561 Shub, Esfir, 144, 150 Skepticism, 338–345, 981 Shutter speed, 82, 244, 245 Skype, 4, 5, 49, 210, 302 Shyamalan, M. Night, 123 SLAB, 240n5, 240n7, 278, 442 Sibley, Frank, 424 SLAB theory, 239, 240, 240n7, 442 Sight and Sound, 430 Slapstick, 33, 732, 905 Signification, 413n21, 444–448, Slater, Mel, 1006, 1007, 1009 451–452, 456, 459, 460, 462, 463, Slavery, 681, 690, 693, 757, 909, 911 592, 693 Sliding Doors, 125 Signified, 384, 446, 448 Slocombe, Douglas, 71, 80 Signifier, 16, 17, 21, 384, 446, 448, 679, Smith, Adam, 337 681, 702n9, 940n36 Smith, Barbara Herrnstein, 410, 431 1054 INDEX

Smith, G.M., 248n34, 402, 907 Sontag, Susan, 39, 413, 413n21 Smith, Jack, 707, 714n14 Sony Pictures, 1000 Smith, Jeff, 196n26, 804n13, 806, The Sopranos, 17, 18, 128, 399, 807n28 546–548, 954, 955, 957, 960 Smith, M., 247, 248, 255, 260, 271, Sorkin, Aaron, 218 275, 277, 398, 399, 471–473, 475, Sorrentino, Paulo, 955 479, 486, 573, 672, 866, 876, Sorry to Bother You, 693, 694, 696 876n38, 886n68, 900, 902, Soul, 279n83 903, 1004 Sound, 189–212, 801, 808–810, 814, Smith, Tim, 145, 382 815, 855 Smith, Zadie, 501–503 Sound art, 813–815 Smuts, A., 472, 575, 586–588, 909, Sound design, 135, 189, 813–815, 913, 981, 982, 984, 985 813n53, 814n57 Snow, Michael, 51, 197, 569, 595–597 Sound effects, 190–192, 192n7, 196, Snow White, 73 198, 204, 205, 208, 346, 686, 803, Snow White and the Seven Dwarves, 73 814, 814n56, 815, 872 Soap opera/soap-opera, 129, 250 Sound image, 210 Sobchack, Vivian, 145, 267, 268, Sound mixing, 815 308–311, 529, 714, 1008 Sous rature, 719, 719n49 Social cognition, 255 South Africa, 688 Social construction, 724, 750 South Korea, 425, 696 Social constructionism, 896–898, South Park, 180 900, 903 Soviet Union, 29, 30, 31n1, 80, 238n3, Social criticism, 256, 742 393, 557, 569, 580, 581, 583, 584, Social identity, 670, 673, 897, 913, 915 591, 688, 762 Social institution, 446–448, 733 Space, 460 Social issues, 534, 646 Sparshott, F.E., 357, 357n1, 359, Socialist, 581, 688 366–377 Social media, 629 Spatial clarity, 86 Social pleasure, 254 Spatial obscurity, 86 Society for Cognitive Studies of the Spectacle, 201, 255, 702n9, 706, 709, Moving Image, 386 716, 723, 729, 731–733, 742, 745, Sociology, 29, 260, 350, 414n21, 441, 746, 754, 928, 940 562, 653, 654, 767 Spectator, 395 Socio-political, 391, 403, 455 Spectatorship, 655–659 Socrates, 498, 759, 926, 927, Speculative, 227, 443, 515, 517, 518, 927n5, 929 603, 628 Sodderland, Lotjie, 627 Speech act, 750, 751, 777, 778 Soderbergh, Steven, 239, 254 Speech act theory, 619n41, 750, Soft-core, 727 777, 778 Soft-focus, 325 Spellbound, 923, 935, 935n22, 935n23 So Is This, 51 Spielberg, Steven, 41, 87, 546, Solomon, Deborah, 335n1 791n22, 1002 Solomon, R., 497, 896 Spinoza, Baruch, 443n9, 523, 878n44 Soloway, Jill, 218 Spiritual automaton, 523, 524 Sometimes in April, 909 Spiro, Ellen, 707 Sonic the Hedgehog, 973 Spy movie, 335 Sonic traces, 608 Stadler, Jane, 404, 872, 872n23, 878 Sonny Chiba, 682 Stage acting, 242 INDEX 1055

Stagecoach, 253 Structuralist/Althusserian Marxism, 443 Staiger, Janet, 221, 221n22, 222, 384 Structuralist critique, 445, 447, 451, 687 Stam, Robert, 442n4 Structure of engagement, 880 Stangneth, Bettina, 507 Structure of sympathy, 866, 880, 881, Stanley, Jason, 775, 776 885n67, 886 Stanton, Harry Dean, 932 Stryker, Susan, 711–713 Stanwyck, Barbara, 72–74, 349, 353 Studio set, 851 Star, 345–349, 631 Style, film, 362, 457, 812 Star Wars, 41, 130, 204, 546, 659, 661 Suárez, Juan, 704 Star Wars IV: A New Hope, 130 Subdoxastic mimicry, 860 Static film, 197, 243 Subjectivity, 242, 253, 286, 287, 291, Stecker, R., 107, 115, 133 292, 300, 301, 308, 309, 324, 400, Stein, Gertrude, 567 420, 427, 441, 445n17, 446–449, Steinbock, Eliza, 713, 714 451, 452, 452n31, 456, 459, 523, Steinem, Gloria, 725, 725n9 528, 545, 560, 561, 632, 637, 641, Steiner, George, 418 645, 647, 668, 683, 700, 709, 713, Steiner, Peter, 553, 554 735, 873, 880, 1004 Steiner, Ralph, 567 Subjectless, 526 Stereoscopic display, 997 Subject positioning, 384 Stereotypes, 278, 325, 654, 655, 660, Sublation, 716–718 667–669, 679, 682, 688, 696, 712, Subliminal advertising, 765 753, 956n16, 1013 Submission, 694, 724, 750 Sternberg, Meir, 120–123, 125, Subordination, 449, 450, 454, 724, 137, 139 748, 750 Stevens, Kate, 150 Subroutine, 881 Stevens, Kirdy, 728 Subversion, 667–669, 672 Stewart, Jimmy, 304, 350 Suckfüll, M., 907 Still Photograph, 16, 21, 55, 56, 165, Sugar Cain Alley, 682 373, 500, 597 Suits, Bernard, 975 Stimulation, 411, 725, 1005, 1007, Sundance, 996, 1001 1009, 1011, 1014 Sundance Film Festival, 996, 1001 Stock, K., 6, 104–105, 905 Sunrise: A Song of Two Humans, 225 Stoker, Bram, 682 Super-8, 634 Stonewall era, 712 Superhero, 34, 177, 243, 684, 692, Stop-motion animation, 170, 171, 176, 692n22 182, 183, 500 Superimposition, 325, 568, 703n12 Storaro, Vittorio, 80, 88, 89 The Superstars, 718 Stories We Tell, 634, 635n18, 642 Supporting propaganda, 775 Storyteller, 71, 82, 102, 139, 635, 638, Suppositional imagination, 619 685, 999, 1002 Surrealism/Surrealist, 238n3, 555, Strand, Paul, 569 564–566 Strangers on a Train, 249 Suspense, 121, 122 The Street Fighter, 682 Suspension of belief, 203 Strickland, Rachel, 999 Suspension of disbelief, 14, 201–203, Stroboscopic, 51 202n48, 372 Strong interactivity, 990 Sutherland, Ivan, 998 Structural film, 587, 589, 595, 596 Sutton, John, 160 Structuralism/structuralist, 278, Suture, 713n39, 937, 940, 940n37 445–451 Swinging the Lambeth Walk, 361 1056 INDEX

Swiss Army Man, 803 Television aesthetics, 959–968 Syberberg, Hans-Jürgen, 329 Television series, 41, 131, 399, 548, 680, Symbolic, 42, 57, 215, 317, 447, 448, 715, 882, 952, 958 565, 568, 604, 848, 936, 961n29 Tempera, 245 Symbols, 18, 19, 32, 58, 150, 254, 307, The Ten Commandments, 45, 109 384, 546, 733, 750, 770, 778, 846 Tenniel, Sir John, 488 Sympathetic emotions, 401 Tennyson, Alfred Lord, 554 Sympathy, 398–400, 865–886 Tension and release, 157, 159 Sympathy-cum-antipathy, 880 Tentpole films, 364 Synchronicity, 208 Testimonial, 765 Synesthetic affect, 396 Testimony/testimonies, 611 Syntax, 19, 307, 326, 561 Texts, 189, 194, 208n73, 264, 294, 298, Synthetic critical approach, 444 339, 376, 409, 441, 442, 446, 451, Systems of signification, 446 455–457, 470, 488, 492, 515, 531, Syuzhet, 120, 248, 249, 368, 370, 392 574, 575, 654, 661, 703, 705, Szabo, A., 546, 910 717–719, 841 Szabo, István, 546, 910 Textualist, 456, 457, 463 That Obscure Object of Desire, 849 Thayer, J. F., 907 T Theater, 33, 38, 328 Taberham, Paul, 381 Theatrical lighting, 79 Taboo, 728 Theodicy of cinema, 689 Tabu, 545 Theoretical philosophy, 340, 343 Tactile, 872, 964, 1005, 1007, Theoretical subsumption, 537 1009–1011, 1014 Theory, 240n5, 278, 315–333, 339, Talbot, Henry Fox, 168 371, 381–404, 392n45, 413n21, Tales of Hoffmann, 783–799, 791n22 442, 443, 453–457, 543–549, Talkie, 193, 515, 801n1, 808 604n2, 686, 699, 700, 846–847, Tan, Ed, 1005 894, 896, 897, 999 Tangerine, 673 Theory of mind, 374, 389, 875 Tappolet, C., 895 Therapy, 269, 470, 631, 753 Tarantino, Quentin, 462, 741 There’s No Place, 718–720 Tarkovski, Andrei, 194 Thewlis, David, 501 Tarnation, 630, 631 The Thin Blue Line, 634 Tarzan, 41, 683 Third Critique, 578, 736 Taste of Cherry, 909 The Third Man, 126, 128, 138, 256, Tati, Jacques, 194 363, 373, 375, 535, 579 Tavinor, Grant, 973, 974, 982, 983 Third wave feminist, 705 Taxi Driver, 792 Thom, Randy, 189 Taylor, Alan, 547 Thomas, Deborah, 135 Taylor, Paul, 687 Thomas, Dylan, 556 Taymor, Julie, 86 Thomas, Wynn, 77, 90 Tchérina, Ludmilla, 788, 789 Thompson, Kristin, 143, 145, 168, Technologically-mediated, 319, 516 384, 394 Tel-Aviv, 1001 Thomson, Judith Jarvis, 476 Teleological definition, 739 Thomson-Jones, Katherine, 87, 90, 134, Telephoto, lens, 84–86 136, 377, 392, 808, 810 Television (TV), 34, 38–41, 49, 129, Thoreau, Henry David, 339, 344 139, 505, 546–548, 603, 606, 610, Thought experiment, 469–489 616, 623, 715, 790, 886, 949 Threat of castration, 936, 941 INDEX 1057

3D, 500, 975, 996 Transcendental ego, 291 3D computer animation, 173 Trans cinema, 713–715 3D models, 500 Trans-cinematic aesthetics, 714 Three Stooges, 41, 732 Trance film, 565, 567 Tilting, 87 Transfiguration, 6, 520 Time, 149–151, 194, 367n43, 461, 591, Transformation, 6, 171, 191, 256, 1014 257n68, 327, 414, 415, 445, 452, Time-image, 21 464, 516, 523, 524, 526, 527, 561, Time Out of Mind, 932 562, 565, 566, 693–695, 710n28, Timing, 151–156 716, 743, 790, 878n64, 880, 995, Tinkcom, Matthew, 699, 701, 710, 715 1008, 1010, 1011, 1013 Tinting, 566 Transformator, 988 Titanic, 401, 906 Transgression, 681, 709, 885 To Have and Have Not, 769 Transgressiveness, 885 To Heart, 974 Transgressive sexualities, 746 Toilet Training: Law and Order in the Trans∗ individuals, 753 Bathroom, 715 Translation, 823–841 Token, 24, 190, 195, 196, 197n27, 243, Trans-mediated experience, 715 246, 622, 723, 754, 811n43, 975, Transparency, 54–56, 208–211 977–979, 987 Transparency thesis, 11, 54–56, 66, Tokyo Story, 902 245n27 Toland, Gregg, 32, 83, 84, 376, 549 Transparent, 218, 715 Tomboychick, 642 Transportation, 202, 203, 1005 Tomito, Isao, 804 Transsexual, 711, 712 Tomkins, S., 896 Trans-television theory, 715 Tonal scale, 76 Trans women, 664, 673 Tongues Untied, 633, 642, 707 Tribal artefacts, 180 Tooley, Michael, 481 The Tribe, 810, 811 Too Many Ways to Be No. 1, 125 Tribeca Film Festival, 1001 Top-Down Propaganda, 770–773 Trintignant, Jean-Louis, 491, 508 Top of the Lake, 955 A Trip to the Moon, 761 Tories, 705 Triumph of the Will, 757 Toronto, 357n1, 764n24, 1001 Trivial interactivity, 984 To Sir, With Love, 680 Tromp l’oeil, 852 Total Cinema, 783–799 True Blood, 218 Totalitarian, 317, 562, 767 True Detective, 218 Total speech act, 778 Truffaut, François, 186, 253, Toto, 107 543–545, 549 A Touch of Evil, 180, 547 Trump, Donald, 482–485, 696, Towering Inferno, 906 705, 772 Trace-dependency, 618, 621, 622 Truth, 685, 847–851 Trace-making process, 168, 183, 184 Truth-apt states, 846 Tracking shot, 241, 370 Truth-tracking, 846 Tracy, Spencer, 350, 351 Tullmann, K., 905 Tragedy, 244, 909, 914 Turvey, Malcolm, 257n68, 518 Traheir, Lisa, 354 TV, 218n12 Trajectories, 155 TV series, 41, 548, 865n1, 886 Trajectory phrasing, 155 Twain, Mark, 113 Transcendence, 287, 319, 325, 520, 690 The Twilight Zone, 41, 469 1058 INDEX

Twin Peaks, 548 V Twitter, 771, 774 Vaage, Margrethe Bruun, 382, 399, 403, 2D computer animation, 173 877, 884, 956n16, 957, 959 Twofoldedness, 852, 852n14 Van Gogh, Vincent, 172 Tyler, Parker, 528, 556, 565, 702 Van Leeuwen, Theo, 160 Type, 8, 10, 17, 24, 33, 44, 56, 62–65, Van Patten, Tim, 547 88, 105, 112, 144, 149, 150, 182, Van Sant, Gus, 708 196, 202, 219, 243, 252, 261, 274, Vancouver, 1001 292, 293, 295, 297, 317, 333, 349, Variable framing, 87 365, 369, 382, 389, 393, 413, 415, Vasilaki, Mimi, 743, 744 416, 436, 459, 462, 464, 470, 475, Vehicular media, 951, 952 477, 480, 483, 491, 493, 494, 554, Vendler, Helen, 417 606, 617, 656, 673, 728, 732–734, Ventriloquist effect, 205 744, 748, 751, 761, 775, 788, 846, Venturi, James, 544 870, 877, 886, 899, 923, 928, 965, Verbal philosophy, 586 987, 990, 1006, 1009 Verbinski, Gore, 91 Typography, 562 Vereen, Ben, 932 Vertical approach, 557, 564, 566, 568 Vertical poetry, 565 U Vertical structure, 557 Ubiquity Thesis, 100, 103 Vertigo, 86, 413, 769 Ugetsu, 370 Vertov, Dziga, 144, 150, 238n3, 241n7, Uidhir, Christy Mag, 737–740, 743, 744 319, 557, 569, 575–577, 580, 581, Ukrainian Sign Language, 810 583–585, 589–591, 597 Ultraviolet, 516 Vestibular, 1005, 1010 Ulzana’s Raid, 546 VGIK, 762 The unconscious, 387, 444, 447, 451, Vicary, James, 764, 765, 775 454, 463, 564, 768, 769, 924, 926, Videogames, 971–992 931, 937 Videography, 494 Unconscious state, 941 Vienna, 51, 126, 261n9, 263 Underground Cinema, 704 Vietnam, 640, 771, 777, 931 Undermining Propaganda, 775 Viewer response, 726 Undertale, 987, 988 Viewing affordance, 614 Une Chien andalu, 559 Viewing time, 368 United Kingdom, 266n23, 704, Villain, 123, 131, 298, 305, 507, 680, 765, 773 682, 692, 882, 883, 903, 935n22 United States, 148, 198, 266n23, 366, Villeneuve, Denis, 123, 301 386, 646, 696, 705, 708, 746, 757, Villiers de ’Isle-Adam, Auguste, 794 765, 771, 778, 902, 960 Vimeo, 644 United vs. FEC, 773 Violence, 33, 136, 151, 298, 404, 505, Unity3D, 996 509, 544, 655, 666, 681, 689, 707, Universal Studio, 103 725, 732, 741, 745, 748–750, 882, Unreal, 996 900, 907, 909, 988, 991 Unreliable narration, 99n5, 139, 139n60 Virgil, 695 Up in the Air, 544 Virtua Fighter 5, 978 U.S. Committee on Public Information Virtual reality, 995, 1002 (CPI), 758 Virtual worlds, 521, 972, 990, Utilitarian, 470, 475, 486, 487 995–997, 1004 INDEX 1059

Visconti, Luchino, 543 Wallis, Tom, 201 Visual bloopers, 611 Wall-Romana, Christophe, 555, 561–565 Visual coding, 252 Walsh, Raoul, 371 Visual consumption, 322 Walt Disney, 693, 1000 Visual Imagining, 853, 854 Walters, Lee, 131 Visuality, 714 Walton, K., 11, 54, 55, 81, 97, 97n1, Visually Coupled Airborne Systems 100, 101n7, 109, 111, 112, 199, Simulato (VCASS), 998 244, 245, 245n27, 372, 421, Visual novel, 974 849n9, 850, 851, 853, 854, Visual pleasure, 655, 768n43, 942, 856n26, 904, 905, 987n71 942n40, 943, 943n41 Waltz with Bashir, 642 Visual representation, 107, 664, 677, Wang, H.L., 904 818, 851 War, 266n23, 491, 612, 615, 757, 763, Visual signs, 559, 725 777, 803 Visual traces, 617 War and Peace, 243, 824 Visuocentrism, 802 Ward, Jesmyn, 99 Vocal Acting, 815 War film, 364, 912 Vococentric, 815 Warhol, Andy, 250, 346, 368, 370, 371, Voice, of characters, 815 707, 718 Voiceover narrator, 501, 877 Warholian, 718 Voiceover/voice over narration, 501, Warranted assertibility, 340 502, 830, 833, 837, 877 Warshow, Robert, 544 Void witness, 1004 Wartenberg, Thomas, 255, 256, 263, Volumetric CGI VR, 996 267, 270, 275, 279, 363, 472, 479, Von Praunheim, Rosa, 707 488, 489, 531, 534–536, 577–586, Von Sternberg, Josef, 249 593, 594, 596, 597 Von Trier, Lars, 32, 549 Washington, Denzel, 77 Von Trotta, Margarethe, 329 Water color, 245 VR, 976, 995–1014 Water for Maya, 51 VR helmet, 976 Waterloo, 616 Vuillermoz, Emile, 528 Waters, John, 710 Watson, Emma, 99 Wavelength, 595–598 W Wayne, Bruce, 659 Wachowski, Brothers, 596 Weak interactivity, 985 The Wages of Fear, 907 Weaver, J. B., 913 Wagner, Richard, 804 Webb, Marc, 249 Wai, Ka-Fai, 125 Weber, Samuel, 715 Wajda, Andrzej, 239, 543 Weekend, 545 Walbrooke, Anton, 789 Weimar Republic, 317, 323 Waldeback, Zara, 216 Weitz, Morris, 974 Walk Away Renee, 630–631 Weld, Tuesday, 933 Waking Life, 181, 494–498, 500 Welk, Andy, 547 Walker, Mandy, 90 Welles, Orson, 32, 83, 126, 180, Walkman, 818 232, 238, 238n3, 239, 249, Wallace and Gromit, 170 364, 373, 375, 433, 522, 545, Wall-E, 814 549, 555 Walley, Jonathan, 52 Wenders, Wim, 329, 330, 932 1060 INDEX

Western, 77, 178, 224, 239, 253, 262, Williams, Tami, 703 266, 359, 364, 441, 441n1, 448, Willis, David, 442 450–452, 454, 526, 573, 581, 603, Willis, Gordon, 79 653, 688, 741, 802, 897, 900–903 Wilms, L., 907 Western ethnocentrism, 450 Wilson, George, 98, 105, 106, 108, 249, Westfall, Joseph, 259 529, 853 The West Wing, 218 Wilson, Woodrow, 679, 758 Wheatley, Catherine, 263, 276, 279, Wilson-Mendenhall, C. D., 898 280n89 Winston, Brian, 621, 636, 637, 643, 644 Whedon, Joss, 73 Winterburg, Thomas, 185 The Wheel, 909 The Wire, 218, 547, 954, 985 Whiplash, 190 Wiredu, Kwasi, 684, 685 White, 73, 338n10, 390, 488, 704, 959 Wise, Robert, 146, 218 White-affirming, 678 Wiseman, Fredrick, 640 White commodification, 695 Wittgenstein, Ludwig, 242, 242n16, White House, 705, 758 257n68, 265, 269, 277, 338, 341, White Male, 680, 692 342, 354, 418, 425, 431, 518, 532, White, Morton, 338 536, 575n9, 577, 583, 829n5, 835, White Museum, 7 836, 839, 974 White, Patricia, 238n1, 247n33 Wittgensteinian, 518, 532, 533, 826, White normativity, 677, 678, 682 838n7, 841, 974 White perspectives, 689 The Wiz, 719 White supremacist, 695 The Wizard of Oz, 100, 719 Whitewash, 690 Wojnarowicz, David, 707 Whitmanesque, 557 Wollheim, Peter, see Wollheim, Richard Whitney, John, 370 Wollheim, Richard, 38, 133, 245n27, Whittle, Stephen, 712 337, 423, 852 Who Framed Roger Rabbit?, 7 Women, 274n61, 666, 751, 769 Who Killed the Electric Car?, 770 Wonder, Stevie, 807 The Whole, 461–464, 523, 524 The Wonderful Wizard of Oz, 718 Why We Fight, 763, 770 Wonder Ring, 567, 568 Wide-angle lens, 84–86 Wonder Woman, 661, 753n108 Wide Awake, 644 Wood, 567 Wiggershaus, Rolf, 316 Wood, Ed, Jr., 546 Wiggins, Wiley, 495 Wood, Robin, 416, 416n28 Wikileaks, 773 Woollard, Fiona, 481 Wilde, Oscar, 429, 700 Word is Out, 715 Wildean, 718 Word Movie (Flux Film #29), 51 Wilder, Billy, 72 Work contextualism, 130 Wilder, Gene, 16, 807 World cinema, 370 Will, 123, 127–129, 131, 132, 158, 500, World Health Organization, 706 959 World of the film, 97, 99, 108n17, 186, Will.i.am, 778 206, 347, 361, 369, 371, 373, 803, Williams, Bernard, 726 830, 839n7 Williams, Linda, 657, 725, 729 World of Warcraft, 978 Williams, Raymond, 273 World-picture, 521 Williams, Robin, 931 World-projection, 267, 521 INDEX 1061

The World Viewed, 174n15, 175, Yogi Bear, 180 175n16, 176, 176n17, 241, 241n8, YouTube, 644, 646, 758, 774, 949 267, 267n29, 269n41, 336, Yugoslavian, 688 336n3, 338n9, 339, 345–350, 354, Yuill, N., 907 798, 802 World War I (WWI), 554, 757 World War II (WWII), 350, 449, 516, Z 682, 960 Zabriskie Point, 370 Wright, Frank Lloyd, 224 Zajonc, R.B., 895 Zelig, 606 Zentner, M., 907 X Zero Patience, 707 Xenophobia, 679 Zillman, Dolf, 957, 957n18 X-Men: Apocalypse, 952 Žižek, Slavoj, 278 Zoetrope, 39, 168 Zoom, 85, 246, 288, 587, 595, Y 596, 1003 Yacavone, Daniel, 258, 268 Zootopia, 87 Yacobi, Tamar, 137 Zsigmond, Vilmos, 77 Yakuza, 901 Zuckerman, M., 912 Yeats, William Butler, 733 Zunshine, Lisa, 389 Yhcam, 528 Zweig, Stefan, 613