Introduction

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Notes

Introduction

1. Michel Chion describes The Scarlet Empress as a ‘Symphony of Textures’ (2000). 2. James MacDowell has written about the aesthetics of ‘so bad, it’s good’ through detailed exploration of The Room (2013). 3. Raymond Durgnat’s discussion of auteur theory engages with grouping and regrouping Hollywood directors according to facets of style, several categories of which (‘soft’, ‘muscular’, ‘plush’) implies a textural understanding of those films (1967: 80). 4. Thomas Elsaesser and Malte Hagener’s Film Theory: An Introduction Through the Senses (2010) is an indicator of the importance of sensory response to film in theory, as well as a useful reminder that attention to sensory experience is not an entirely new facet of Film Studies. 5. As Ian Garwood points out, sensory scholarship tends to be divided into two camps; those engaging with Merleau-Ponty and those engaging with Deleuze (2013: 14). 6. As indicated by Sobchack (2004), Beugnet (2007), Barker (2009), Elsaesser and Hagener (2010). 7. This bears a relationship to José Ortega y Gasset’s (1968) argument for two different ways of seeing in art, proximate and distant vision. As Gilberto Perez puts it, Ortega’s proximate vision is tactile ‘we don’t merely see, we virtually seize hold of an object with our eyes’ (1998: 135). Perez’s reference to Ortega leads him to a rich discussion of the treatment of objects and space on film – the chapter ‘The Deadly Space Between’ (1998: 123–148). 8. Schiff’s two modes of touching map onto distinctions between haptic and optical visuality. 9. Though some such language may also belong to the clichés used to evoke film style (Clayton & Klevan, 2011: 1). 10. Susan Smith (2000) has explored the concept of tone as part of her study of Hitchcock. 11. Misek’s discussions of colour most illuminating to discussion of texture are in the range of qualities contained in the use of surface colour, such as the hardening qualities of colour in a rejection of Technicolor’s ‘law of emphasis’ that decreed colour should support the emotional tenor of a scene (2010: 56–57), and optical colour, for example, the propensity for desaturation in use of natural light in New Hollywood filmmaking and how this light and manipulations of it through use of smoke and dust shaped the space (2010: 134–135). 12. As noted by Clayton and Klevan (2011: 5–6). 13. In an article concerning the terminologies of textiles, cloth and skins, Susanna Harris evokes the contrasting attitudes to the qualities of textiles

169 170 Notes

and their use in different cultural traditions. She states that ‘the selection (or rejection) of cloth-type materials was in accordance to wider culturally held beliefs based in the appropriate aesthetics of structure and surface’ (2008: 230). In the same article she proposes:

The reason for selection in cloth types is culturally dependent and varied: it may depend on attributes such as color, thickness and decoration, desir- ability based on the origin of the product in terms of raw material, source through exchange, the user’s social relationship to the producer, or taboos surrounding particular materials. (2008: 231)

1 Introducing Texture in Film

1. Thanks to my father, Graeme Fife, for his Classicist’s illumination of the etymological origins of ‘texture’. In his words: ‘From the Latin texo-texere- texui-tectum “to weave” from the root tek- which appears in the Greek etekon, tikto “to beget” ’ (2009). 2. Notably, this covers ‘any natural structure having an appearance or consis- tence as if woven; a tissue; a web, e.g. of a spider’ (OED). 3. Architecture and geography are other areas in which texture plays a role. Giuliana Bruno discusses the textural relationship between film and these areas: ‘As we travel filmically in the shared “fabric” of apparel, building, and mapping, I dwell on the fiber of these domains, and particularly in the folds – the texture – of their geophysic design, where wearing is, ultimately, a wearing away’ (2002: 9). Constance Classen’s exploration of the many tactile realms of the past, from the Middle Ages to Modernity, demonstrates the wide disciplinary reach of concern with texture, materiality and feel (2012). 4. ‘Spontaneity can be seen in Cézanne’s vigorously marked surfaces, which display unconventional texture as well as irregularity in degree of finish’ (Schiff, 1991: 137). 5. My thanks to Alastair Rider for elucidating the significance of texture to discussions of its absence. 6. Lesley Millar draws attention to a project by Japanese designer Masayo Ave, ‘The Sound of Materials’, which explores the articulation of texture and seeks to create a haptic dictionary of newly created works to identify and describe texture. The project has its roots in the fact that Japanese has many instances of onomatopoeic description, while other languages do not (2013: 31). 7. Though this has not always been the case. Earlier modes of viewing art permitted this more intimate relationship between beholder and artwork, as touching was a part of the 18th century exhibition. See Classen (2005: 275–286). 8. Schiff is instructive for such a comparison between painting and photography: ‘one is coarse-grained and relatively discontinuous – bumpy to the imagined touch – whereas the other is sufficiently smooth-gradated so as to inhibit the viewer’s attending to tactile qualities’ (1991: 147). 9. ‘Painters regularly use their hands to wipe off excess paint; but in [Baptism of Christ, St. Jerome, Virgin of the Rocks, Adoration of the Magi and Ginevra de’Benci] Leonardo [da Vinci] used his fingers and the butt of his hand as if they Notes 171

were brushes, sometimes dragging them across the tacky surface of nearly dry paint and sometimes punctuating a stroke with a single fingerprint’ (2003: 233). 10. In 1921, his manifesto was read at the Theatre de L’Oeuvre in Paris and the Exposition of Modern Art in Geneva. Marinetti proposes a scale of tactile values with categories of different touches as characterised by different materials. 11. Although it may be a relatively new term, belonging principally to the modern age (Dunsby, 1989: 46). 12. Italian for texture. 13. ‘Lower notes seem to have more “mass” than higher ones and so create a much denser aural impression’ (Buhler et al., 2010: 47). 14. Writing on sound technology, particularly the emergence and development of Dolby Surround Sound, brings a focus on the spatiality of cinematic sound. See Chion ([2003] 2009: 117–146); Sergi (2004); Sobchack (2005). 15. For Barthes, the particular qualities of sound in the cinema throw the body of the actor into our ears, as it brings the audience into contact with a voice in ‘close up’, enabling us to hear in their materiality, ‘their sensual- ity, the breath, the gutturals, the fleshiness of the lips, a whole presence of the human muzzle’ ([1973] 1983: 413–414). 16. For a fuller discussion of these rhythmic qualities, see Elsaesser (1972: 11–12). 17. Thanks to the speakers at the Symposium ‘Texture in Film’ (University of St Andrews, 2013), and especially the contributors to the roundtable discussion for helping me get a clearer sense of these strands and their delineations, especially the ones further away from the specificities of my own concerns with texture. 18. As in the discovery in 1994 of over 800 negatives produced by Mitchell and Kenyon in the early 1900s. 19. A tactile process that is being transformed through the move to digital film, which consists of materials that can’t be physically marked, scratched or painted to transform the image. 20. Cinematographers interviewed in the documentary Side by Side (Christopher Kenneally, 2012) who discuss celluloid in these terms include Reed Morano, Bradford Young and David Tattersall. 21. Interviewed in The Cutting Edge: The Magic of Movie Editing (Wendy Apple, 2004). 22. See Barry Salt ([1983] 2009: 47–48; 69; 85; 167; 199; 221). 23. Salt discusses this practice as more of an aesthetic than budgetary choice in independent filmmaking of the 1980s ([1983] 2009: 323). 24. This is a significant aspect of the discussion of digital and film by filmmakers in Side by Side. 25. As revealed in interviews with production designers Richard Sylbert and Richard MacDonald. Sylbert notes the difficulty of black-and-white: ‘It’s very hard to do texture in black and white, because you’ve got to get separation and you can’t get it by changing colors’ (LoBrutto, 1992: 54–55). In contrast, McDonald observes the difficulty of colour:

Color has taken away all that depth of focus, all that quality. In black and white, you could use two velvets and could see the way that the nap on 172 Notes

one worked against the nap on the other. You could see the feel of it. You could see the density of the material. (LoBrutto, 1992: 66) 26. ‘Softness and hardness of lenses varies with different manufacturers, and many cinematographers have preferences depending on the type of effect required. Filtering is not just for colour and effects. In the old studio days up until the harder look of the ‘80s, a female star always had to have a softening filter, to ensure beauty in comparison to her male counterparts’ (Greenhalgh, 2003: 109). 27. As noted by Valerie Orpen (2003: 37). 28. As with other studio personnel, composers were contracted to studios and became known for their specialities (Flinn, 1992: 19). 29. Greenhalgh describes the codification of lighting: ‘Every genre was assigned a “key” and contrast range to fit its mode of expression: heavy melodrama – low key, high contrast; comedy – high key, low contrast’ (2003:122). As Helen Hanson recounts, in melodrama (especially crime and thrillers), low key sound interrupted by sudden high key bursts is used to match the rise and fall of the narrative and high contrast chiaroscuro of the visual style (2010: 94–97). 30. As practiced by Professor John Bateman and Dr Janina Wildfeuer of the Bremen Institute for Transmedial Textuality Research, Faculty of Linguistics and Literary Sciences, Bremen University.

2 Textural Worlds

1. Ride Lonesome wasshotinjust18days.TheShooting was shot back-to-back with Ride The Whirlwind and shares the same production team, location and most of the cast. 2. A company founded by director Budd Boetticher, star Randolph Scott and producer Harry Brown. They made several films together, but only one other, Commanche Station (1960) bore the ‘Ranown Pictures’ title-card. 3. However, it was not distributed by Corman, and never saw a full theatrical release, despite being bought by the Walter Reade Organisation as they sold it for TV release instead. 4. Several of the writers for Oxford Opinion, including Ian Cameron and V.F. Perkins, went on to form the journal Movie. 5. The concept of generic verisimilitude describes the gap between our reality and that of a film. 6. See Pye (1975: 29–43) for a more detailed discussion of this interplay. 7. Clint Eastwood in ‘Clint Eastwood on “Comanche Station” ’ – DVD fea- turette on Comanche Station (Sony Pictures, 2008). 8. Also perhaps due to its connections to 19th century American Literature, and to Hollywood directors such as John Ford and Howard Hawks who were praised as auteurs by writers in Cahiers du Cinema and Movie. See Kitses (1969), Pye (1975) and the series of articles collected in Nichols (1976). 9. Landscape is a key element in this iconography, especially for directors like Ford, who shot so many of his films in Monument Valley. Ride Lonesome was shot in Lone Pine, California, which was a popular location for Hollywood Notes 173

westerns. A number of films starring Randolph Scott were made there and along with Ride Lonesome, Budd Boetticher shot several of his films with the star there too – Seven Men from Now (1956), The Tall T (1957) and Comanche Station (1960). He made the decision not to shoot his westerns in the more famous location of Monument Valley very deliberately, stating ‘That was Jack Ford’s, you know, and nobody could have done it better’ (Axmaker, 2008). The Shooting was filmed on location in Utah. 10. Of course, not all westerns embody exactly these textures, there are many westerns that take place in more green countryside but that also feature hardship. 11. By the time he appeared in The Shooting, which was shot in 1965, Warren Oates had been featured in four western films (including Peckinpah’s Ride The High Country [1962] and Major Dundee [1965]) and approximately 27 western television shows, including: Tombstone Territory (ABC, 1957–1959), Wanted: Dead or Alive (CBS, 1958–1961), The Rifleman (ABC, 1958–1963), Stoney Burke (ABC, 1962–1963), Rawhide (CBS, 1959–1966) and The Virginian (NBC, 1962–1971).

3 Experiencing Space

1. A term used to describe ‘a popular cycle of films from the 1990s that rejects classical storytelling techniques and replaces them with complex storytelling’ (Buckland, 2009: 1). 2. Robin Wood proposes that the decor ‘evokes immediately the gracious living of the past’ (1965: 77). 3. As discussed by Tania Modleski (1988: 87–100). 4. The posy itself is an object that is repeated elsewhere, in Carlotta’s portrait and in the florist’s window before Scottie sees Judy for the first time. 5. According to Barr, who describes aspects of the production context of the film, Hitchcock went to great lengths to ground the film’s sets in the reality of contemporary San Francisco. For example, ‘he commissioned precise record- ings to the dimensions and contents of Ernie’s, the flower shop (Podesta Baldocchi) and the clothes shop (Ranoshoffs), in order to recreate them exactly in the studio’ (2002: 34). 6. The role played by light in shaping and complicating film space is noted by Noël Burch whose writing concerning the visual ‘flatness’ of early cinema recognises that an essential element in cinema’s ‘gradual “conquest of space” is the mastering of lighting’ (1990: 176). 7. Horror films utilise this movement most frequently, as the camera stands in for the killer in films like Halloween and Friday the 13th (Sean Cunningham, 1980). 8. The transformation of Fred to Pete is not explained by the film, and is an event experienced as equally surprising and confusing by those within the film’s world – specifically the prison guards who find him – as by those outside it. 9. For Reni Celeste the ideal projection of the film would be as an endless loop, allowing spectators to enter and leave at any point, a suggestion which elo- quently addresses the irrelevance of narrative revelation to the film’s affect (1997: 33). 174 Notes

10. Tico Romao discusses the connection of Lynch’s aesthetic approach with that of American avant-garde ﬁlmmaking traditions, identifying his use of asso- ciative structures and loose narrative form as central elements that support this relationship (2002: 59–72). 11. Though, of course, such examples make assumptions about the watching experience and its consistency from cinema to cinema, and even between viewing contexts. The spatiality of the cinematic viewing experience is not the same everywhere, as cultural practices differ. The question of what such spaces do to our experience of texture on-screen is one for future contemplation. 12. ‘New, soul-shaking theatre speaker systems further challenge moviemakers to stretch their sonic creativity’ (Mancini, 1983: 40).

4Sound

1. Splet states that 80% of the sound, not including the music, for Dune was created in post-production (Gentry, 1984: 64). 2. This is not to say that these elements of sound are easily separated, however, as scholars such as Gorbman have pointed out, the line between diegetic and non-diegetic is often blurred, and furthermore, it can be difficult to separate elements which mingle together (for instance, a singing voice bridges music and voice). 3. Laine cites the expression of ‘synasthetic sound-and-image experiences’ in the theoretical writings of Siegfried Kracauer and Sergi Eisenstein (2011: 66). 4. Director Robert Wise used an experimental 28 mm Panavision anamorphic lens to achieve the distortions of space in the film (Turner, 1999: 85). 5. In his article on the score of The Best Years of Our Lives (William Wyler, 1946) Samuel L. Chell notes that Friedhofer’s score imparts ‘a subjective depth to the flatness of photographed objects’ (1984: 31). 6. As noted by Chion: ‘Materializing indices can pull the scene toward the material and concrete, or their sparsity can lead to a perception of the characters and story as ethereal, abstract and fluid’ ([1990] 1994: 114). 7. In Vincent LoBrutto’s interviews with sound personnel, their attention to the fine detail is immediately noticeable. 8. Point of audition, like point of view, is not without its complications, because, as Chion observes, there is a distinction between the spatial and subjective point of audition. 9. Murch’s discussion of his sound design of Kurtz’s compound in Apocalypse Now (Francis Ford Coppola, 1979): ‘We can’t see anything about the space, so the only way we’re going to learn about it is through sound. [ ...]. The sound of a drip echoed can really tell you something about how far away you are from that drip and what the space around it is. The smell of the sound’ (LoBrutto, 1994: 96). 10. In interviews with Jarrett (2000: 4) and Costantini (2010: 37). 11. For example, in Robert Altman’s films perspective becomes multiple because of his practice of miking actors individually, or in a ‘bus’, which brings a sound effect disconcertingly to the foreground, especially its use in Cat People (Jacques Tourneur, 1942), as described by Helen Hanson (2010: 94–97). Notes 175

12. Supervising sound editor Cecelia Hall refers to production design as the ‘map with all the clues’ (LoBrutto, 1994: 189), and goes into great detail about how the sound design linked to visual design in the distinctions between the feel of the different submarines in The Hunt for Red October (John McTiernan, 1990). 13. In an interview with Gary Hecker he performs the breathing of the horse featured in the scene from Robin Hood (Ridley Scott, 2011) that he is working on (2013). 14. As Smith notes, ‘sounds that have no counterpart in everyday reality rep- resent an especially favourable opportunity for creative exploration on the part of the Foley artist or sound designer’ (2013: 445). 15. Revealing the tricks is a feature of writing on foley work or sound effects more generally, for example: Mancini (1983); Hardesty (1991); Kawin (1992); Baker (2003); Ament (2009); Smith (2013). 16. As an example: ‘The whooshing kicks in The Karate Kid were made with a badminton racquet. Toss three BIC pen tops into a glass, and you’ll know where movie ice cubes come from’ (Kawin, 1992: 466). 17. It’s difficult to say whether this is standard practice, but the use of cabbage to stand in for human/animal body parts, whether being hit or cut into, can be seen in Track Stars: The Unseen Heroes of Film Sound (Terry Burke, 1979) and Barbara Baker’s interview with foley artist Diane Greaves, during which she references having to recreate the sound of a horse having its throat slit, achieved by ‘slicing a cabbage and doing gushing blood with our mouths’ (2003: 206). 18. For example, Arthur Piantadosi (music mixer) on Altered States (Ken Russell, 1980): The effects came from Stanford University, where they did all kinds of sound experiments and we got the benefit of it. The director, Ken Russell, got tracks from Stanford, John Corigliano had written the score, and we got to weave them in and out of each other – they were one. (LoBrutto, 1994: 18) 19. Interviews by LoBrutto (1994: 133) and Sergi (2004) go into the technicalities of Dolby and its development. 20. Chion observes that the directors most actively involved in the development of film sound in the New Hollywood era – George Lucas (in his collaborations with Murch), Robert Altman and Francis Ford Coppola – were interested in polyphonic uses of sound, and he describes Lucas as polyrhythmic (combination of different kinds of rhythm), while Altman’s sound focuses on a verbal polyphony ([2003] 2009: 119). 21. David Cooper offers a detailed breakdown of the variations of the ‘Madeleine’ theme (2003: 242). 22. Filmmakers involved in the production of sound frequently comment on the relationships between the design of sound and the visual style. For example, sound designer Gary Rydstrom: ‘You look for audio metaphors for what the film is trying to say. So you start thinking of sounds based on the mood the art director, set designer, costume designer, and everyone is trying to come up with to help the movie achieve these emotions at any given moment’ (LoBrutto, 1994: 228). 176 Notes

23. According to Eric Mancini, this was a practice used expressively by Bailey Fesler and James Stewart (sound men who worked with Orson Welles): ‘high angles often suggest weak, strident sounds; low angles suggest rumbly, hulking ones’ (1983: 42). 24. For sound designer Frank Serafine, sound and colour create material relationships (Mancini, 1983: 42), and supervising sound editor, Frank Warner catalogues his sound library using colour to signal the sound’s sensory qualities: ‘Red to me was more of a hard, mean sound; blue could be more passive. Green could be pastoral, very light or airy. It often depended on what my mood was when I started writing about my combination of sounds for the picture. I always used colours’ (LoBrutto, 1994: 29). 25. As set out by Gorbman (1987: 73–76). 26. While musicals reverberate with the possibility of singing and dancing hap- pening at any time, I’m reminded here of an observation made to me by Adam O’Brien, that certain musicals have textures which seem to invite the possibility of dance more than others. His example concerned the surfaces of On the Town (Stanley Donen & Gene Kelly, 1949) being more conducive to the expectation of dance than those of Brigadoon (Vincente Minnelli, 1954). 27. And perhaps the relative lack of conflict that follows their romance more generally – it is temporarily derailed by Don’s co-star Lina Lamont’s med- dling, but this is overcome with relative ease. The main source of conflict in the film concerns trying to get the first Lockwood and Lamont sound film made with the help of Kathy’s voice. 28. For example, ‘Isn’t it a Lovely Day’ in Top Hat (Mark Sandrich, 1935) and ‘Dancing in the Dark’ in The Bandwagon (Vincente Minnelli, 1953). 29. An additional complication or layering within the film in regards to relationships between image and sound is the fact that Reynolds herself was dubbed when performing Lina’s voice. That Jean Hagen herself provided the speak- ing voice for Kathy-as-Lina adds a further strand to the textuality of the film, a key part of its self-reflectivity as noted by Steve Cohan (2000: 59). 30. In a panel discussion on film sound and music in Velvet Light Trap, the question of disciplinary difficulties is broached, and the participants make the point that terminology seems to be a boundary for film scholars, especially when dealing with music. Their suggestions is that film music scholars are there to fill in that language gap, and that textual analysis is the method by which the division of approaches (historical/technological versus identity) can be bridged (2003: 73–76).

5 Bring Me the Head of Alfredo Garcia

1. Haworth was production designer/art director on most of Peckinpah’s ﬁlms in the 1970s: Junior Bonner (1972), The Getaway (1972) Pat Garrett & Billy the Kid (1973), The Killer Elite (1975) and Cross of Iron (1977). 2. Straw Dogs (1971) and Cross of Iron are examples, that for me, most directly embody visceral and raw affective qualities, making their horrors tangible and therefore somewhat more penetrable. 3. Description of the ﬁlm from Halliwell’s Film & Video Guide (quoted in Cooper, 2011: 35). Notes 177

4. Cooper suggests it is ‘a film is full of vivid moments’, but I don’t think this quite goes far enough (2011: 9). 5. Mary Douglas’ writing on pollution and taboo establishes dirt as matter out of place, reminding us of an order which is now absent, and links this disorder/order binary to fundamental states of existence: ‘Reflection on dirt involves reflection on the relation of order to disorder, being to non-being, form to formlessness, life to death’ ([1966] 1994: 6). 6. Cooper offers a thorough rundown of the film’s reception and reputation, from popular press, critics and academics, to fans and cult audiences (2011: 29–46). 7. For example, in Bennie and Elita’s scene by the tree, which involves an emotional exchange about the future of their relationship, there are shifts between close shots of both actors and longer shots of them both under the tree, the movement between which don’t seem motivated by dialogue. 8. Thanks to Douglas Pye for discussing Peckinpah with me, and articulating some ideas about the film that have helped me grasp some of the some of the looser ends of my thoughts. 9. Prince links Peckinpah and Arthur Penn in this regard, as two filmmakers of the late 1960s who wished to use the changes to the depiction of violence (created as a result of the dissolution of the Studio System and introduction of the Motion Picture Association of America ratings system) to draw attention to violence of contemporary society (2000a). 10. Writing before Alfredo Garcia, Jim Kitses identifies this strand: ‘At times Peckinpah can create a cinema of great charm, intimacy and pastoral lyricism’ (1969: 168). 11. Peckinpah in Madsen (1974: 91). 12. Wood identifies the descent-into-hell narrative as a major preoccupation of the 1970s horror film (1980/1981: 26). 13. 1974 seems to have been a particularly key year for an emergence of violence, paranoia, life and filmmaking coming apart at the seams, as manifested in films such as: Texas Chain Saw Massacre (Tobe Hooper), The Conversa- tion (Francis Ford Coppola), It’s Alive (Larry Cohen), The Parallex View (Alan J. Pakula), Cockfighter (Monte Hellman) and A Woman Under the Influence (John Cassavetes). 14. Even in less extreme films than Alfredo Garcia there are shifts of style, for example in changes to performance style via the influence of the Method, which drew more attention to itself. 15. Cooper identifies it as the ‘formal device most associated with the director’ (2011: 72). It is certainly a strategy used throughout his work, and perhaps most prominently in The Wild Bunch, though it is worth pointing out that it is used across different kinds of physical violence, so its use in Straw Dogs is very different from that in The Wild Bunch. 16. Understanding of Elita in this light, and her central role in the con- struction of the film, counters accusations of misogyny. Kitses observes that Peckinpah’s films feature such a figure in his identification of Elsa in Ride the High Country and Angel in The Wild Bunch as that spiritual centre. 17. Cooper (2011: 74). 178 Notes

18. Prince comments that the sound effects ‘sensuously detail the thud of bullets into flesh, the violent exhalation of breath, shattering pottery, or crashing glass’ (2000b: 189). 19. Cooper (2011: 49). 20. Such as: Pye (1975); Wood (1977); Thomas (2000); Neale (2001); Maltby (2003). 21. For example: where did the Garcia family appear from; what were Sappensly and Quill doing before they catch up with Bennie, and how did they find him? 22. Kitses compares Peckinpah’s work to Buñuel: ‘Luis Buñuel once observed that “neo-realist reality is incomplete, official and altogether unreason- able; but the poetry, the mystery, everything which completes and enlarges tangible reality is completely missing”. Different from Buñuel in many ways, Peckinpah nevertheless reveals a similarly all-embracing vision, a total response to the world’ (1969: 160).

Conclusion

1. There are exceptions to the focus on the director as the key focus of writing on film style, such as writing that attends to the detailed achievement of film and privileges the role of performance (Klevan, 2005; Clayton, 2007), sound (Chion, [1990] 1994; [2003] 2009; Sergi, 2004; Hanson, 2013) or cinematography (Greenhalgh, 2005). Gibbs’ work on filmmakers’ choices like- wise brings attention to a network of decisions that make up film style (2006; 2010; 2011). 2. Elsaesser and Hagener’s chapter on the digital is precisely concerned with its sensory possibilities, suggesting that it is ‘much more closely aligned and attuned to the body and the senses’ (2010: 174). 3. The fact it is becoming more rare to shoot on film is underlined by discourses of authenticity and artistic value in sticking to film. There are filmmakers who refuse to shoot on digital, despite the growing cost of celluloid. Anxi- eties about digital match the kind Di Bello discusses in relation to the mass reproduction of artworks via photography and small statues. 4. Richard Misek describes how a film like 300, which was shot with real actors on a soundstage, with the details of location, action and the qualities of mise- en-scène (surface, lighting, colour) filled in by digital imaging ‘exemplifies the extent to which color (and, indeed, film as a whole) has now become dependent on extensive post-production’ (2010: 153). 5. Chion also discusses these ideas in his article ‘Image, rendu, et texture’ (2000). Bibliography

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Note: Locators with the letter ‘n’ refer to notes.

Adamson, Glenn and Victoria Kelley, Buhler et al., 21, 23, 41, 119, 11–12 127, 171n Affron, Charles, 10–11, 48, 81 Burtt, Ben, 44 Altman, Rick, 114, 118, 119 Amer (Hélène Cattet & Bruno Forzani, Cameron, Ian, 9, 172n 2009), 1 Cavell, Stanley, 8, 83 amplitude, 24, 26, 40, 97, 100, celluloid, 33–7, 166, 171n, 178n 128, 166 Chion, Michel, 43, 114, 118, 119, 120, Andrew, Dudley, 44–5, 166 124, 125, 126, 128, 140, 167, Arnheim, Rudolf, 38, 39, 42, 140–1 169n, 171n, 174n, 175n, 178n aspect ratio, 37, 69 cinematography, 20, 34, 38, 82, 154, Aumont et al, 82–3 162, 167, 171n, 172n, 178n camera movement, 26, 37, 40, 42, 46, 48, 57–8, 85–6, 87, 93, 96, back projection, 37, 87, 89, 91–3, 97 100–3, 134 Balázs, Béla, 135 camera position, 40, 45, 63, 65, 69, Baldick, Chris, 28, 31 82, 126, 135, 138, 145, 158 Bann, Stephen, 19–20 lens, 38, 39–40, 87, 97, 98, 110, 116, Barker, Jennifer M., 3, 4, 5, 46–7, 52, 127, 154, 172n, 174n 53, 54, 100, 169n Citizen Kane (Orson Welles, 1941), Barr, Charles, 9, 51–2, 56, 57, 74, 80, 35, 36 84, 93, 173n Clark, T.J., 157, 160 Barry Lyndon (Stanley Kubrick, Classen, Constance, 5, 170n 1975), 39 Clayton, Alex, 9, 178n Barthes, Roland, 26, 27, 29–31, 38, 46, Clayton, Alex & Andrew Klevan, 6, 71, 72, 137, 140, 171n 7, 169n Baxandall, Michael, 47 coherence, 9, 50–2, 53, 65, 79, 103, Berberian Sound Studio (Peter 110–11, 126, 142, 150, 154, 156, Strickland, 2012), 121–2 161, 162, 164–5 black-and-white, 36, 38, 83, 150, 171n colour, 11, 34, 37–8, 39, 62, 69, 70, 81, Bordwell, David, 54 83–4, 86, 87–90, 94, 95–6, 98, Bordwell, David and Kristin 110, 149, 150–1, 164, 169n, Thompson, 118 171–2n, 176n, 178n Brakhage, Stan, 34, 37 Connor, Steven, 4, 45 Branigan, Edward, 53, 74, 114 Cooper, David, 24, 175n Bring Me the Head of Alfredo Garcia Cooper, Ian, 142, 148–50, 153, 156, (Sam Peckinpah, 1974), 12, 13, 161, 176n, 177n, 178n 142–63, 165, 177n costume, 38, 62, 64, 69, 73, 84–5, 87, Britton, Andrew, 9, 33 88, 90–1, 96, 134, 146, 147, 175n Bruno, Giuliana, 5, 11, 48, 170n Cranston, Jodi, 15, 16, 18–19, 170–1n

188 Index 189 criticism, 7–9, 12, 13, 168 84–9, 95, 100, 110, 113, 114, 118, description, 7, 33, 140–1 120–1, 123–4, 125, 129, 132, 134, haptic, 5 137, 140–1, 142, 150–1, 152, 158, interpretation, 5, 8, 20, 30, 47, 81 160, 161, 164, 165, 166, 168, literary, 27–9; new criticism, 28–9; 170n, 172n, 175n practical criticism, 28 see also mood; touch traditions of British film criticism, 9, Feuer, Jane, 129 27, 47, 50–1, 172n film world, 2, 6, 8, 10, 13, 40, 41, 43–4, 48, 49, 52–6, 58–70, 71, Days of Heaven (Terrence Malick, 73–5, 79, 80, 83, 103, 105–6, 107, 1978), 55 109–10, 113, 114, 118, 119–20, decor, 6, 26, 37, 73, 75, 81, 82, 84–6, 121, 142–3, 149–50, 153, 161–2, 90–1, 95–9, 102, 108, 149, 165, 165, 173n, 178n 168, 173n fine detail, 14, 27–8, 32, 33, 37, 47, 52, Deleuze, Gilles, 3, 169n 55, 111, 119–20, 122, 123–4, 142, and Guattari, 4–5 150, 160, 165, 168, 174n depth, 5, 6, 10–11, 16, 20, 23, 39–40, Fountain, The (Darren Aronofsky, 53, 81, 86, 88–9, 92–3, 95, 97–100, 2006), 1 101–3, 107–8, 110–11, 113, 117, 118, 119, 126, 129, 138, 174n Gallafent, Ed, 9 Di Bello, Patrizia, 17, 19, 30, 166, 178n Galt, Rosalind, 11, 149 digital film, 33, 34, 37, 125, 166–8, Garbo, Greta, 38, 39, 81 171n, 178n Garwood, Ian, 3–4, 6, 10, 52, 169n effects, 35, 167 genre, 6, 9, 13, 32, 41, 43–4, 45, 46, Double Indemnity (Billy Wilder, 1944), 49, 66–70, 73, 79, 80, 104, 113, 43, 105 140, 161, 162, 165, 172n Douglas, Mary, 16, 177n action, 24, 41, 67, 140 Dune (David Lynch, 1984), 123, 174n comedy, 41, 45, 66–7, 172n Dunsby, Jonathan, 21–2, 26, 171n film noir, 43, 67, 82, 104 Durgnat, Raymond, 10, 38–9, 169n horror, 41, 46, 104, 113, 115, Dyer, Richard, 32 139–40, 173n, 177n melodrama, 66–7, 68, 101, 110–11, Earth (Alexander Dovzhenko, 161, 172n 1930), 41 the musical, 113, 125, 129–30, 176n editing, 1, 20, 31, 34, 37, 42, 43, 45, the western, 13, 49, 67, 68–70, 54, 61, 62, 65, 71–2, 75, 77, 78, 153, 173n 91, 100–1, 115, 123, 125, 137, Gibbs, John, 9, 37, 40, 178n 149–50, 154, 158, 160, 162–3, 166 Gibbs, John & Douglas Pye, 7, 8–9, physicality of, 34 27, 47 effort, 19, 21, 30, 32, 37, 121, 135, Glitre, Kathrina, 9, 66 138, 147, 157–60, 162, 166, 167 Gombrich, E.H., 17, 39, 99–100, 119 Elliot, Paul, 4 Gorbman, Claudia, 114, 115, 125–6, Elsaesser, Thomas & Malte Hagener, 127, 137, 174n, 176n 166, 169n, 178n Governess, The (Sandra Goldbacher, 1998), 1 feeling, 2, 6–7, 9, 11, 12, 15, 24, 25, grain, 25–6, 31, 33, 34, 36, 47, 98, 26, 27–8, 30, 32–3, 38–9, 40, 41, 101, 137–8, 140, 144 43–5, 48, 49, 51–2, 56, 58, 63, 65, Greenhalgh, Cathy, 38, 39, 66–7, 69, 70, 71, 79–80, 81, 82, 172n, 178n 190 Index

Grindhouse (Quentin Tarantino & LoBrutto, Vincent, 8, 44, 49, 82, Roberto Rodriguez, 2007), 35 120, 121, 142, 171–2n, 174n, 175n, 176n Halloween (John Carpenter, 1978), Lost Highway (David Lynch, 1997), 12, 46, 173n 81–2, 95–106, 107, 109–10, Hanson, Helen, 172n, 174n, 178n 112–13, 165, 168, 173n, 174n haptic, see touch Haunting, The (Robert Wise, 1963), Magnolia (Paul Thomas Anderson, 12, 113, 115–18, 124, 127, 1999), 125 138–40, 165 Major Dundee (Sam Peckinpah, 1965), Haworth, Ted, 142, 176n 149, 173n Hecker, Gary, 122, 175n Mancini, Eric, 127, 174n, 175n, 176n Herrmann, Bernard, 42, 115, 125 Man with a Movie Camera (Dziga Hillier, Jim & Douglas Pye, 129 Vertov, 1929), 42 Man Ray, 16, 18 incoherence, 110, 153–6 Marie Antoinette (Soﬁa Coppola, Inland Empire (David Lynch, 2006), 39 2006), 168 Marinetti, F.T., 20, 171n Marks, Laura U., 3, 4–5, 12 materiality, 2, 6, 9, 11, 22, 28, 45, Johnson, Richard, 115, 139 56, 73, 145, 156, 162, Johnson, William, 113, 126, 127 170n, 171n Joyless Street, The (G.W. Pabst, of ﬁlm, 5, 10, 34, 37, 39, 56, 67, 1925), 39 115, 118, 121, 165, 171n of music, 22–4, 115–18; see also Kawin, Bruce, 119, 175n pitch Kelley, Victoria, 12, 16 of sound, 114–15, 121–4, Kelly, Gene, 128–30, 134, 135–6, 138 137–40, 176n Kiss Me Deadly (Robert Aldrich, 1955), of space, 38, 73, 82–111, 118–20, 38, 43 143, 149, 165 Kitses, Jim, 69, 149, 153, 162, 172n, of the text, 31, 32 177n, 178n McDonaldson, Richard, 82, 171–2n Klevan, Andrew, 9, 81, 83, 178n McMahon, Laura, 3 Kracauer, Siegfried, 3, 126, 127, 174n Memento (Christopher Nolan, 2000), 36 Laine, Tarja, 11, 114, 174n Merleau-Ponty, Maurice, 3, 46, landscape, 49, 52, 54, 57–8, 61–2, 65, 47, 169n 68–70, 75, 79, 91, 149, 151–3, Millar, Lesley, 4, 18, 170n 172–3n Mise-en-scène, 27, 69, 83, 86, 102, Leavis, F.R., 27–8 154, 160, 165, 178n Letter from an Unknown Woman (Max see also cinematography; costume; Ophuls, 1948), 42, 47 decor; production design light, 16–18, 21, 33, 38–9, 43, 48, 67, Misek, Richard, 11, 36, 169n, 178n 69, 70, 75, 81, 82, 83, 86, 87–9, mood, 9, 43–5, 48, 49, 50, 52, 56–7, 93, 95, 96, 97, 98–100, 102, 108, 65–6, 69, 71, 84, 109, 113, 114, 110, 111, 113, 119, 149–51, 156, 127, 140, 149–50, 165, 175n 166, 169n, 172n, 173n, 178n Mulvey, Laura, 111 see also surface; touch Murch, Walter, 34, 119, 174n, 175n Index 191

Nancy, Jean-Luc, 3 116–17, 126–7, 128, 129, 135, narrative, see structure 140–1, 147, 150, 155, 156–60, 166, 171n, 175n Oates, Warren, 50, 54, 62–3, 69, 76, see also slow-motion 142, 144, 146–8, 159–60, 173n Richards, I.A., 27, 28–9, 51 RidetheHighCountry(Sam Peckinpah, Pain and Gain (Michael Bay, 2013), 24 1962), 149, 173n, 177n Panofsky, Erwin, 15 Ride Lonesome (Budd Boetticher, 1959), pattern, see structure 12, 49–50, 54, 57–62, 65, 68–70, Peacock, Steven, 9, 38 71, 72–3, 74, 75, 78, 79–80, 164, Pearlman, Karen, 41, 72 172–3n Peckinpah, Sam, 142, 150, 151, 153, Right Stuff, The (Philip Kaufman, 155–6, 162, 173n, 176n, 177n, 1983), 125 178n Room, The (Tommy Wiseau, 2003), 2, Perez, Gilberto, 9–10, 39, 41, 70, 162, 169n 169n Rosemary’s Baby (Roman Polanski, Perkins, V.F., 7, 9, 51, 53–4, 73, 154, 1968), 45 164–5, 172n Piston, Walter, 22 Salt, Barry, 35, 36, 171n pitch, 21, 23–6, 40, 60, 63, 112–13, Scarlet Empress, The (Josef von 115–16, 118, 126–7, 128, 129–31, Sternberg, 1934), 1, 169n 132–3, 134, 138–9, 141, 147, Schiff, Richard, 4, 15–17, 19, 20, 169n, 161, 166 170n point of view, 43, 46, 52, 79, 86, 88, Scott, Randolph, 49, 54, 59, 60, 61, 69, 89, 93, 106–10, 174n 172n Pollack, Jackson, 18, 20, 150, 154, 160 Scruton, Roger, 22, 23–5 Prince, Stephen, 150, 151, 155–6, 163, Searle, Humphrey, 115 177n, 178n Sergi, Gianluca, 125, 135, 171n, 175n, production design, 9, 20, 37, 73, 82, 178n 120, 162, 166, 171n, 175n, 176n Shaviro, Steven, 3 Productivist art, 20 Shooting, The (Monte Hellman, 1966), proprioception, 4, 46, 54, 103, 120, 12, 13, 49–50, 54, 62–5, 68–70, 71, 124, 147, 165 74, 75–80, 110, 165, 172n, 173n Psycho (Alfred Hitchcock, 1960), Singin’ in the Rain (Stanley Donen & 47, 115 Gene Kelly, 1952), 12, 113, Purse, Lisa, 167 128–38, 164, 176n Pye, Douglas, 9, 10, 43, 56–7, 106, Sirk, Douglas, 110, 164 150, 172n, 177n, 178n slow-motion, 13, 76, 147, 155–60, 162 see also rhythm Queen Christina (Rouben Mamoulian, Smith, Jeff, 121, 175n 1933), 38, 81 Sobchack, Vivian, 3, 5–6, 46, 47, 54, 114, 169n, 171n Ransom, J.C., 28 Sophie’s Choice (Alan J. Pakula, 1979), Rebecca (Alfred Hitchcock, 1940), 1 36 Reynolds, Debbie, 128–9, 134, 135, sound design, 13, 20, 37, 44, 49, 70, 176n 73, 97, 111, 113, 119–24, 125–7, rhythm, 13, 20, 21, 22–5, 26–7, 28, 129, 130, 158, 162, 166, 174n, 41–2, 49, 60–1, 65, 71–2, 73, 75, 175n, 176n 76, 77, 80, 86–7, 98, 100–2, Foley work, 9, 37, 120–2, 123, 175n 192 Index sound design – continued 152, 154, 155–6, 164, 165, 167, sound mix, 37, 43, 122, 123, 169n, 171n, 176n, 178n 124–5, 175n of the body, 62, 67, 69, 76, 81, 90–1, Splet, Alan, 113, 123–4, 174n 99, 101, 106, 121–2, 135, 137, Stonebreakers, The (Gustave Courbet, 143, 145–7, 156, 157–9 1849), 157, 160 and depth, 5, 6, 11, 20, 89, 93, structure, 15, 21–4, 26, 27, 28–9, 32, 97–100, 129 40–3, 49, 51, 66–7, 71, 79, 80, 83, between ﬁlm and spectator, 6, 45, 123, 124–5, 154, 160–2, 165, 170n 46–7, 52–3, 81, 100, 103, horizontal axis, 40, 41–2, 71–3, 75, 114, 124 76–7, 79, 116, 117–18, 128, friction, 60, 68, 75, 106, 109, 132–4, 147, 156, 158, 160, 138, 139 162, 166; see also surface; warp and light, 17–18, 33, 38–9, 43, 48, and weft 67, 95, 97–8, 111, 113, 173n horizontality, 23, 26–7, 29–30, 49, 70 in music, 22–3, 24–6, 115, 117–18, interrelationship of elements, 6, 16, 129–30, 137 21, 22, 26, 29, 40–1, 51, 69, and sound, 97–8, 112, 114, 74–5, 100, 126–8, 129–37, 154, 118–24 161, 163, 164, 165, 168 tactility, 4, 15–16, 37, 95–7, 98, 121, layering, 21, 24, 31–2, 34, 43, 46, 167, 170n 47, 72, 80, 109, 122–5, 160, through voice, 26, 32, 60–1, 118, 162, 163, 166, 168, 176n 135–40, 144, 146, 160, 171n mode of reading, 29–31, 32, see also proprioception 46–7, 71 Sylbert, Richard, 8, 171n narrative, 1, 6, 7, 9, 12, 13, 14, 27, 29–30, 40–2, 43, 49–50, 52, 55, Tactilism, 20–1 58, 68, 70–80, 82, 83, 90, 101, Taxi Driver (Martin Scorsese, 104, 106–7, 109–10, 125, 142, 1976), 120 148, 150, 160–2, 165, 172n, technology, 33, 37, 40, 97, 119, 122–4, 174n 154, 166–8, 171n, 175n pattern, 8–9, 10, 14, 21, 24, 27, 32, see also digital ﬁlm 40–2, 49, 70, 71–3, 77, 79, 83, Terminator 2: Judgment Day (James 89, 93, 101, 125–6, 128, 129, Cameron, 1991), 1 154, 155, 158, 164, 166 textuality, 5, 29, 30–2, 46, 123, sound and image, 40, 75, 97–8, 118, 155, 176n 126–8, 129–37, 144, 150, 152, ‘textural analysis’, 4, 5 158, 160, 165, 176n texture vertical axis, 27, 30, 32, 40, 71, 72, in architecture, 170n 73–4, 75, 76, 79, 81, 116, effacing/absence of texture, 9, 15, 117–18, 128, 132–3, 139, 158, 16, 18, 19, 26, 35, 37, 80, 121, 160, 162, 165–6; see also surface; 125, 130, 154, 166, 170n warp and weft in literature, 27–32 verticality, 23, 26, 30, 37 in music, 21–7; heterophony, 21–2, studio style, 43–4, 172n 127; homophony, 21–2, 23, 32, surface, 1, 2, 7, 8, 10, 11–12, 14, 42, 127–8, 135; monophony, 16–17, 19, 20–1, 28, 29, 30, 32, 21–2, 23, 127; polyphony, 21–2, 33–4, 37–8, 40, 43, 58, 66–7, 71, 23, 29, 32, 43, 119, 124, 127–8, 81–3, 84–5, 88–90, 101–2, 103, 129, 130, 135, 175n 104, 110–11, 132, 137, 143, 150, temporal, 36, 39, 71 Index 193

textiles, 17–18, 169–70n 122, 124, 130–2, 133–5, 139, in visual art, 15–21 147, 157–60, 164, 170n textures thin, 7, 8, 14, 22, 23, 24, 25, 32, 39, busy, 23, 112, 132, 134, 137 41, 63, 74, 79, 87, 97–8, 104, dense, 7, 22, 23, 24, 25, 26, 29, 41, 113, 119, 122, 131, 132, 133, 46, 67, 72, 84, 93, 103, 110, 134–5, 138, 139, 162 112, 126, 132, 134, 157, 160, Thomas, Deborah, 7–8, 9, 45, 56–7, 162, 164, 171n, 172n 61–2, 66–7, 104, 161, 178n gritty, 2, 7, 11, 33, 35, 36, 123, 300 (Zack Snyder, 2007), 167, 178n 146–7, 148 timbre, 22–3, 25, 49, 115, hard, 1, 26, 33, 34, 38, 40, 43, 45, 118–20, 139 54, 61, 62, 66, 67, 68, 69, 71, tone, 10, 23, 39, 43, 45, 56, 66, 104, 75, 89, 97, 98–100, 101–3, 104, 130, 148, 161, 169n 109, 110–11, 112–13, 117, 119, touch, 1, 3–5, 34, 46, 82, 103, 120, 120, 124, 133, 135, 138, 139, 134, 143, 165 146, 147–8, 160, 161, 162, authorship, 18–20, 26, 27, 30, 32, 169n, 172n, 176n 162 in classical film theory, 3 loose/fragmented, 63, 65, 66, 77, consistency, 33 104, 110, 152–3, 161–2, 174n deflection of, 88, 90, 96, 162 metallic, 1, 25, 38, 67, 122, 124, experiencing art, 16–17, 18, 20–1, 130, 152 154, 170n, 171n opaque, 23, 65, 77, 78, 112, 165 haptic, 21, 81; criticism, 5; rough/ragged, 1, 8, 19, 22, 36, 57, definitions, 4–5; qualities, 12, 63, 65, 67, 68, 77, 95, 143, 16, 20, 106 146–7, 149 illusion of, 5, 16–18, 33, 38, 81, sharp, 25, 26, 42, 43, 59, 61, 62, 63, 82–3, 167 67, 71, 76, 90, 102, 109, impression, 17, 21, 166 112–13, 115–16, 117, 119, 120, modes of touch, 4, 169n 122, 124, 125, 130, 132, 137, in sensory film theory, 4, 139, 150 6, 169n shiny, 16, 33, 43, 67, 89, 96–7, 99 tactile process in art, 15, 18–19, smooth, 1, 2, 11, 16, 17, 18, 19, 22, 20–1, 170–1n 24, 25, 33, 37, 40, 42, 47, 57–8, tactility of language, 27 62, 65, 67, 71, 80, 86, 95, tactility, see structure 100–2, 112, 115, 120, 125, Toy Story (John Lasseter, 1995), 167 133–4, 138, 139, 143, 147, 165 Turin Horse, The (Béla Tarr, 2011), 1 soft, 8, 25, 33, 34, 38, 40, 58, 61, 62, 63, 65, 66–7, 76, 86–9, 90–1, 96, Vasseleu, Cathryn, 14, 48 97–100, 101–3, 109, 112–13, Vertigo (Alfred Hitchcock, 1958), 12, 115, 118, 119, 124, 125, 130–2, 13, 14, 81–95, 103, 104, 107, 109, 134, 135, 137, 138, 139, 141, 125, 128, 164, 173n, 175n 144, 146, 148, 150–2, 156, voice, see surface 169n, 172n sticky, 33, 115 Walters, James, 9, 53 tangle, 22, 110, 116, 139, 162 warp and weft, 6, 10, 14, 24, 29, 30, thick, 14, 23–4, 25, 27, 31, 34, 38, 32, 33, 49, 70–4, 75, 128 45, 47, 74, 85, 86, 94, 97–8, see also structure, horizontal 100–1, 110, 112, 113, 118, 121, axis/vertical axis 194 Index

Weddle, David, 158, 162–3 Written on the Wind (Douglas Sirk, Where the Sidewalk Ends (Otto 1956), 110, 164 Preminger, 1950), 43 Wurtzel, Stuart, 49 Wilson, George M., 42, 47, 74–5 Wood, Robin, 9, 50, 84, 154–5, 173n, Yacavone, Daniel, 55–6 177n, 178n Yates, Christopher, 55