Indexes Films

Act of Seeing with One's Own Eyes, Best Years of Our Lives, The (William The (Stan Brakhage, USA, 1973) Wyler, USA, 1946) 43 154 Bicycle Thieves (Ladri di biciclette) Actor's Revenge, An (Yukinojo henge) (Vittorio de Sica, Italy, 1948) 45 (Ichikawa Kon,Japan, 1963) 134 Big Sleep, The (Howard Hawks, USA, After Lumiere: L 'Arroseur arrose 1946) 44 (Malcolm Le Grice, GB, 1974) 186 Birds, The (Alfred Hitchcock, USA, After Manet, After Giorgione, Le 1963) 97 Dejeuner sur l'herbe, or, Fete Birth of a Nation, The (D. W. Griffith, champetre (Malcolm Le Grice, GB, USA, 1915) 96 1975) 170 Blackbird Descending (Tense Alien (Ridley Scott, GB, 1979) Alignment) (Malcolm Le Grice, 185-6 GB, 1977) 170 All My Life (Bruce Baillie, USA, 1966) 167 Carabiniers, Les 0.-L. Godard, France/ Arrivee d'un train en gare de La Italy, 1963) 4 Ciotat, L' (Louis Lumihe, France, (, USA, 1895) 12, 26, 38 1941) 43, 125 Arroseur arrose, L' (Louis Lurniere, City Girl (F. W. Murnau, USA, 1929) France, 1895) 4, 186 142 Assassin musicien, L' (Benoit Jacquot, Coma (Michael Crichton, USA, 1977) France, 1975) 109, 151, 162 189-90 Condition of Illusion (Peter Gidal, At the Circus (Edward Buzzell, USA, GB, 1975) 168-74passim 1939) 215 C/0/N/S/T/R/U/C/T (Peter Gidal, Au hasard, Balthazar (Robert Bresson, GB, 1974) 172 France/Sweden, 1966) 91, 100 Couch (Andy Warhol, USA, 1964) Autumn Afternoon, An (Samma no 166 aji) (Ozu Yasujiro,Japan, 1962) 61 Death by Hanging (Koshikei) (Oshima Nagisa, France/Japan, 1976) Back and Forth (f----7) (Michael 65-9,150 Snow, Canada, 1969) 170 Debarquement des congressistes, Le Badlands (, USA, 1973) (Louis Lurnihe, France, 1895) 55 12,38 248 Index of Films

Deux ou trois chases que je sais Killer's Kiss (Stanley Kubrick, USA, d'elle 0.-L. Godard, France, 1955) 50, 51 1966) 181, 183 Kriemhild's Revenge (Kriemhilds Rache) (Fritz Lang, Germany, Empire of the Senses (Ai no corrida) 1924) 95 (Oshima Nagisa, France/Japan, 1976) 145, 148-63 Letter from an Unknown Woman Enfants terribles, Les Oean-Pierre (Max Ophuls, USA, 1948) 122, Melville, France, 1950) 120, 148 123, 146-63 passim, 184 Exorcist, The (, USA, Loafer, The (Essanay Company, USA, 1973) 125 1911) 74 n. 66

Family Plot (Alfred Hitchcock, USA, Madame de ... (Max Ophuls, 1976) 125, 157 France/Italy, 1953) 163 Femme mariee, Une 0.-L.Godard, Maltese Falcon, The Oohn Huston, France, 1964) 183 USA,1941) 47,181 Follow the Boys (Edward Sutherland, Man with a Movie Camera, The USA, 1944) 135, 182 (Chelovek s kinoapparatom) (Dziga FortinifCani Oean-Marie Straub & Vertov, USSR, 1929) 59-60 DaniC!e Huillet, Italy, 19 7 6) Marnie (Alfred Hitchcock, USA, 1964) 202,241 122 Masculin-feminin 0.-L. Godard, Gai Savoir, Le 0.-L. Godard, France, France/Sweden, 1966) 183 1968) 58 Meet me in St. Louis (Vincente Gay Shoe Clerk, The (Edwin S. Porter, Minelli, USA, 1944) 125 USA, 1903) 37 Meshes of the Afternoon (Maya Deren, General, The (Buster Keaton, USA, USA, 1943) 57 1926) 87.90 Moi, Pierre Riviere (Rent! Allio, France, Goodbye Girl, The (Herbert Ross, 1976) 237,238 USA, 1977) 162 Morocco Oosef von Sternberg, USA, Grandma's Reading Glass (G. A. Smith, 1930) 123 GB, 1901) 12,44 Moses and Aaron (Moses und A ron) 0 ean-Marie Straub & DaniHe Hall (Peter Gidal, GB, 1968) 165, Huillet, West Germany/France/ 168,169, 174 Italy, 1974) 56, 202 Halloween Oohn Carpenter, USA, 1978) 186 Nashville (, USA, High Sierra Oohn Huston, USA, 1941) 1975) 181 73 n. 60 Naughty Marietta (W. S. Van Dyke, History Lessons (Geschichtsunterricht) USA, 1935) 145, 159-60 0 ean-Marie Straub & DaniHe News from Home (Chantal Akerman, Huillet, Italy, 1972) 56, 202, Belgium/France/West Germany, 241 1976) 98-101 One Second in Montreal (Michael India Song (Marguerite Duras, France, Snow, Canada,1969) 166 1974) 202 Othon 0 ean-Marie Straub & Daniele Huillet, West Germany/Italy, 1969) Jaws (, USA, 1975) 56,202 41, 44, 123, 185 Je tu il elle (Chantal Akerman, France, Peeping Tom (Michael Powell, GB, 1974) 177,178 1959) 44 Index of Fz"lms 249

Penthesilea (Laura Mulvey & Peter Standard Time (Michael Snow, Wollen, GB, 1974) 63-4, 218 Canada, 1967) 167 n.6 Suspicion (Alfred Hitchcock, USA, Poetic justice (Hollis Frampton, USA, 1941) 19-24,28, 44, 48, 1971) 57 73 n. 60, 122, 184, 185 Pravda (Groupe Dziga-Vertov, France, Sylvia Scarlett (, USA, 1969) 242 1935) 123 Print Generation U.J. Murphy, USA, 1975) 57 Taking of Pelham 123, The Uoseph Pursued (Raoul Walsh, USA, 1947) Sargent, USA, 1974) 215 122 Taxi Driver (, USA, 1976) 44, 50-1 Rameau 's Nephew by Diderot (Thanx Three Women (Robert Altman, USA, to Dennis Young) by Wilma 1977) 162 Schoen (Michael Snow, Canada, Threepenny Opera, The (Die 1974) 58-9 Dreigroschenoper) (G. W. Pabst, Ramona (D. W. Griffith, USA, 1910) Germany/USA, 1931) 11 16 Tom, Tom, The Piper's Son (American Rear Window (Alfred Hitchcock, USA, Mutoscope & Biograph Company, 1954) 44 USA,l905) 26,39,57 Red River (Howard Hawks, USA, (Orson Welles, USA, 1948) 60 1958) vii, 51, 124, 133-43, 165, Regard, Le (Marcel Hanoun, France, 179-82 passim 1977) 177 Towering Inferno, The Uohn Rt!gion centrale, La (Michael Snow, Guillermin, USA, 1974) 182 Canada, 1971) 58 Trial of joan of Arc, The (Le Proces Repas de bebC,Le (Louis Lumiere, de jeanne d~rc) (Robert Bresson, France, 1895) 4 France, 1962) 88, 90-1,94 Riddles of the Sphinx (Laura Mulvey Turning Point, The (Herbert Ross, & Peter Wollen, GB, 1977) 196, USA, 1977) 162 218 n. 6 Room Film 1973 (Peter Gidal, GB, Uncle josh at the Moving Picture Show 1973) 168 (American Mutoscope & Biograph R~verens Brud (Viggo Larsen, Company, USA, 1902) 4-5 Denmark, 1907) 73 n. 66 Vampyr (Carl Dreyer, France/ Search for Evidence, A (American Germany, 1932) 50 Mutoscope & Biograph Company, Vent d'est (Groupe Dziga Vertov, USA, 1903) 37, 44 FrancefWest Germany/Italy, 1969) Secret Beyond the Door, The (Fritz 129 Lang, USA, 1948) 122 Secrets of a Soul (Geheimnisse einer (Michael Snow, Canada, Seele) (G. W. Pabst, Germany, Wavelength 58,128-9,166,170 1926) 18 n. 3 1967) Duration (Malcolm Le Silent Partner (Peter Gidal, GB, 1977) White Field Grice, GB, 1973) 166, 170 170 GB, Son Nom de Venise dans Calcutta Women in Love (Ken Russell, desert (Marguerite Duras, France, 1969) 188 1976) 202 Sortie des usines, La (Louis Lumiere, Zorns Lemma (Hollis Frampton, France, 1895) 4, 12, 38 USA, 1970) 57 Names

Adair John 72 n. 45, 74 n. 72 Brecht, Bertolt vii, 7, 9, 11, 16-17, Aiml!e (case-history, La can) 162 33,227,237,242 Akerman, Chantal 98, 177 Bresson, Robert 88-92 passim, Alberti, Leon Battista 28, 37, 70 Ill n. 15 n.20 Breuer, Josef 162 Allio, Renl! 237 Burch, Noel 25, 40, 45, 46, 48, 50, Althusser, Louis 103, 105, 106, 56, 59, 60 (cit.), 74 n. 76,91 234 n. 11 Anna 0. (Bertha Pappenheim - Calleia, Joseph 138 case-history, Breuer) 162 Cartwright, Veronica 185 Apollinaire, Guillaume 113-14 Chateau, Dominique 218 n. 2 Arnheim, Rudolf 10, 27 (cit.), 30 Chomsky, Noam 217-18 n. 2 (cit.), 31 (cit.), 35, 40, 59 Christie, Julie 181 Cixous, Helene 160, 202 Bacall, Lauren 202 Cocteau,Jcan 114, 120, 148 Baillie, Bruce 167 Collet,Jean 143(cit.) Ballet, G. 208 Collin, Fram,;oise 196 (cit.), 197 167, Barthes, Roland 92,135,142, (cit.) 177' 214 (cit.) Comolli,Jean-Louis 227 227 Baudry,Jean-Louis Cookjr, Elisha 181 Bazin, Andrl! 11, 42-3, 45, 55-6, Crosswaite, David 175 n. 1 100, 120, 135, 148, 153 Bellour, Raymond 245 n. 9 Benjamin, Walter 10-11, 13, 33, Darwin, Charles 206 48 Dayan, Daniel 86-7,92-3, Bitzer, Billy 184 96-100 passim, 107 Blonski, P. P. 208, 209-10 Diamantis, Irene 193 n. 13, 202 (cit.) Bonitzer, Pascal 100, 236 (cit.) Dietrich, Marlene 123, 124, 135, Bordwell, David 25, 39 (cit.), 60-1 182,202 (cit.), 74 n. 84, 211-12 (cit.) Dora (case-history, Freud) 162 Bouly, Leon 14 Drummond, Fred 175 n. 1 Brakhage, Stan 57, 154 Ducos du Hauron, Louis 234 n. 16 Branigan, Edward 25, 32, 49-50, Dumont, Margaret 181 60,72 n. 40 Duras, Marguerite 121,190,202 Bray, Yvonne de 120, 148 Diirer, Albrecht 34 Index of Names 251

Eatherley, Gill 17 5 n. 1 Hanoun, Marcel 1 77 Eddy, Nelson 145 Hassan, Ihab 129 Edison, Thomas Alva 200, 221-2, Hegel, G. W. F. 177,203,210 227 Heston, Charlton 134 Egger, V. 208 Hirst, Paul Q. 103 Eikhenbaum, Boris 214-15 Hitchcock, Alfred 19, 23, 24, 57, Eisenstein, S.M. 3, 10, 11, 35, 71 125, 182 n.2~183,196,204,211-13 Hjelmslev, L. 12 Eisler, Hanns 200 Holbein, Hans, the Younger 29 Eizykman, Claudine 71 n. 30 Huillet, Danii:le 55-6, 121, 190, Engels, Friedrich 6 202,241 Euclid 30 Ichikawa, Kon 134 Fell, John, L. 229 (cit.) Irigaray, Luce 161, 162-3, 193 n. 13 Ferro, Marc 236-7 Ivanov, V. V. 220 n. 45 Feyerabend, Paul 234 n. 9 Ivins, W. M. 30 {cit.) Flaherty, RobertJ. 91 Fontaine,Joan 19, 122, 123, 146, Jacobs, Ken, 39,57 154,184,185 Jacquot, Benoit 109, 151, 189 Forrester, John 212-13 {cit.), Jakobson, Roman 59-60, 74 n. 78, 220 n. 50 80, 94 (cit.), 197 Foucault, Michel 236-8 Jenkins, Reese V. 229 (cit.) Frampton, Hollis 35, 57, 71 n. 23 Johnson, Lincoln F. 192 n. 4 Francastel, Pierre 27 (cit.), 29, Johnston, Claire 242 {cit.) 74 n. 74 Jones, Ernest 18 n. 2, 82 Frege, Gottlob 84 Jourdan, Louis 146, 184 Freud, Sigmund 1-3, 17 n. 2, Jourdheuii,J. 237 (cit.) 17-18 n. 3, 79-80, 108-9, 117, Jung, C. G. 218 n. 14 124,125-6,156,162,168,176, 178,183,193 n.13, 197-9,201, Kircher, Athanasius 228 203-7' 210, 212-13, 215, 218, Klein, Melanie 15 n. 14, 220 n. 54, 222, 237 Kleist, Heinrich von 63 Fuji, Tatsuya 149 Kooning, Willem De 36 Koyama, Akiko 65 Gabor, ZsaZsa 181, 182 Krauss, Rosalind 71· n. 26 Galileo 29, 70 n. 12 Kren, Kurt 175 n. 1 Garmes, Lee 231 (cit.) Kubelka, Peter 71 n. 29, 175 n. 1 Ghirlandaio, Domenico 34 Gidal, Peter 75 n. 86, 165-75 Lacan,Jacques 76-86,92, 103-6, passim 108,116,117-18,126 (cit.), 151, Gilman, Ernest B. 70 n. 12 156,162,168-9,173 (cit.), 177-8, Gish, Lillian 184 {cit.) 187 (cit.), 197-8, 201, 202, 204, Godard,Jean·Luc 4, 15, 56, 58, 212-13, 241 94, 121, 124, 181, 183, 190-1, Laemmle, Carl 3 192-3 n. 8, 196 {cit.), 241 Lang, Fritz 95 Goldwyn, Samuel 3, 18 n. 3 Lansing,Joi 140 Gorin,Jean-Pierre 190-1 Lassie 179 Grant, Cary 19, 24, 122, 182, 184 Lauste, Eugene 200 Greimas, A. J. 1 79 Lawson,J. H. 12-13 Grew,Joseph C. 145 Leavis, F. R. 199 Griffith, D. W. 15-16, 184 Leclaire, Serge 85 Groupe Dziga Vertov 129, 242 LeGrice,Malcolm 165-75passim, 186 252 Index of Names

Leibniz, W. G. 70 n. 12 Pabst, G. W. 3, 18 n. 3 Leigh, Janet 135, 140 Pavlov, I. P. 208 Lenin, V.I. 210 PC!cheux, Michel 101-2, 104-5 Levy-Bruhl, Lucien 211,213 Perkins, V. F. 227 (cit.), 229 (cit.) Lindgren, E. 32 (cit.) Picasso, Pablo 23, 69 n. I Lumiere, Auguste and Louis I, 37, Pierre, Sylvie 180 (cit.) 199, 221, 222, 233 n. I Plato 78, 210, 225 Louis 4, 25, 33, 166, 186, 227, Pleynet, Marcelin 28 234 n. 16 Porta, Giambattista della 30 Luria, A. R. 208, 211 Proust, Marcel 212

MacDonald, Jeannette 145 McQueen, Steve 182 Raban, William 17 5 n. I Malick, Terrence 55 Rabant, Christiane 202 (cit.) Mannoni, Octave, 189 Rainer, Yvonne 220 n. 55 Marey, Etienne Jules 26, 33 Ranciere,Jacques 237 (cit.) Marvin, Henry 184 Rat Man (case-history, Freud) 198 Marx Brothers 181, 215 Raymond, Pierre 101 Groucho 181 Reich, Wilhelm 212 Harpo 215 Reisz, K. 32 (cit.), 41 (cit.), 42 (cit.) Marx, Karl 1-2, 5--6, 12, 64, 66, Ricks, Christopher 192 n. 2 159, 205, 206-7, 208, 210, 216, Rin-Tin-Tin 179 237 Rosolato, Guy 189 (cit.) Matsuda, Eiko 149 Rothman, William 87, 93, 96,97-8 Mayer, Carl 231 Russell, Ken 188 Melville, Jean-Pierre 120, 148 Merleau-Ponty, Maurice 27 (cit.), 62 Sade, D. A. F., Marquis de 176 Metz, Christian vii, 12, 30, 37,39 Safouan, Moustapha 187 (cit.) (cit.), 48, 93, llO n. 5, lll n. 15, Saito, Makoto 145, 159, 160 ll4 (cit.), 130-3, 137 (cit.), 170, Salt, Barry 96-7, 230-1, 232 194-7, 222-5,245 n. ll Saussure, Ferdinand de 80, 195, Michelson, Annette 24-5, 74 n. 76, 197, 203, 218 n. 2 220 n. 45 Schreber, Daniel Paul (case-history, Millar, G. 32 (cit.), 41 (cit.), 42 (cit.) Freud) 198 Miller, J acques-Alain 14-15 (cit.), Shakespeare, William 143 76-86,88-9,93,94,100-1 Sharits, Paul 71 n. 30 Milner,Jean-Claude 86, 198 (cit.) Sitney, P. Adams 57 Mitry,Jean 40,46 Snow, Michael 19, 24-5, 58, 63, Mulvey, Laura 63, 197, 218 n. 6 128-9,166,167,170, 175 n.1 Mukafovsky,Jan 59 Socrates 210 Murnau, F. W. 142, 231 Sternberg, josef von 135, 182 Murphy,J.J. 57 Straub, Jean-Marie 55-6, 121, 190, Musidora, des femmes de 162 202,241

Newman, Paul 182 Nietzsche, Friedrich 186-7 Tamiroff, Akim 139 Nijny, V. ll Ten Doesschate, G. 28 (cit.), 30 (cit.) Thompson, Kristin 25, 39 (cit.), 60-1 (cit.), 75 n. 84 Ophuls, Max 56, 146, 161, 163 Oshima, Nagisa 64, 66, 68, 145-64 Titian 34 Trotsky, Leon 3 Oudart,Jean-Pierre 76, 86-101 passim, 107-8, Ill n.13andn.l5 Ozu, Yasjiro 25, 60-1 Van Dyke, Willard 145 Index of Names 253

Vertov, Dziga 11, 12, 33, 55, 60, Welles, Orson vii, 11, 42, 51, 124, 153-4 133,135,142,165,182 Vinci, Leonardo da 33, 70 n. 20 Williams, Raymond 225-6 (cit.), 227 Vlady, Marina 181 Wittgenstein, L. 204 Volosinov, V. M. 205, 207-8, 210, Wollen, Peter 63, 196, 218 n. 6 215 Worth, Sol 72 n. 45, 74 n. 72 Vygotsky, L. S. 208-11, 213, 215 Wyler, William 11, 42

Warhol, Andy 166 Youngblood, Gene 226 (cit.) Watanabe, Fumio 65 Yun, Yun·do 65 Terms and themes

This index is indicative rather than comprehensive inasmuch as many of the terms and themes listed (for example, 'narrative' or 'subject') are a constant preoccupation -passim - throughout the book. In such cases, only a few - major - references are given here.

aesthetic, as factor of technological critical practice, of cinema 7, 16-1 7, development of cinema 229-31 55-6, 62-3, 121, 178, 183-4, agent 179-82 190, 217, 228, 236-44 passim; alienation 81-2 avant-garde independent film and anamorphosis 28-9, 70 n. 12 56-9, 124, see also structural/ materialist film; Mulvey/Wollen body 58, 176-93, 196; fragmenta• and 62-4, 196, 218 n. 6; tion of 184. See also dismember• Oshima and 64-9, 145-64 ment deconstruction 59-60, 64 camera 28, 30-2, 35, 115, 200; defile 108-9 'autonomy' of and arguments depth of field (deep focus) 31, concerning film practices 50-2, 42-3, 72-3 n. 49, 91, 230, 233 63; movement 42-3,47,50-2, discourse 78, 101-7 passim; 147, 200, 231. See also identifi- cinematic 95-101 passim, cation 107-9,111 n.13, 131-3;ofthe camera obscura 2, 3, 12, 30, 35 Other 78-9,.83-4 character 54, 179-82, 183 dismemberment 123, 185-6 cinematic apparatus, concept of documentary 55, 191, 236-7; every 222-4,227,233,238 film as document of cinema code, codes 107, 131-2, 140, 191-2, 238 195-6, 197,223-4 dream screen 37, 71 n. 32 competence f performance 217-18 'dynamic square', Eisenstein's n.2 proposal of 10, 71 n. 23 construction 107, 173-4 content, and 'form'f'content' 64, easel, use of, in painting 34-5 159 economic, instance in technological continuity 42-3, 45-6, 72 n. 45, development of cinema 223, 100 225-9 passim Index of Terms and Themes 255 effectivity, of films 242-3 interpellation 102-6 enounced/enunciation 43, 54, 93-4, invocatory 1 77-8, 20 1, 202 127, 132; cinematic enunciation 93-4, 216-17; subject of 85-6, lalangue 80, 198, 204, 213 93-4,117-19 language, and cinema 194-217, 217-18 n. 2, 223-4;and ideology family romance 125, 15 7. See also 105-6, 206-11, 213-14; verbal, novelistic as comparison with cinema 93, fantasy 83, 116, 143, 151 179. See also inner speech, feminism 63, 99, 160-3, 202 unconscious fetishism 37, 154, 183, 198 languefparole 101-2, 194-6, field/reverse field (shot/reverse shot) 197-8,204,217-18 n. 2 42, 45, 52, 54, 73-4 n. 66,95-7, linguistics 80, 86, 93, 117,195,197, 98, 100, 150 217-18 n. 2 figure 182 literalisms 215, 220 n. 54 frame, framing 10-15 passim, 33-8, look, looking 44,46-7,52,53-4, 57, 62,71 n. 23 and n. 30, 87,135, 92, 95,97-9, 119-20, 147-54, 136 160-3, 170-1, 243 genres 16, 44, 52, 146 masquerade 163, 186-7, 193 n. 13 memory 237; cinema as 14-15, historical materialism 4, 5-6, 14, 114, 122; narrative and film 119, 53,101-7,126, 128,210-11, 121-9 passim, 147, 169, 171-2, 216,225-7,242-4 241; theme of, 122. See also popu• history 216, 225, 238, 242; lar memory histories of cinema, conventional memory-spectacle 114-15, ll8, 154 terms of 228-31, 239-40, 244; mirror-phase 90, 198 ofavant~deindependent film mise en cadre 10, 12 175;oftechnology 225-8,232- 'modernist', formal elements and 3, 239-40; as theme and aim of definition of film practice as 25, film practice 236-8, 242-3 52,60-2 movement, in film 26-7,31-3, identification 9, 86, 89, 100, 36-7' 38-9, 49, 53-4, 95 105-7, 119-20,128, 147,150, 169-72, 187,241,243,245 n. 9 narration, as imaginary of film and n. 11; primary (Metz) 170-1, 172-3 243, 245 n. 11; with camera 30, narrative, as order, construction of 48-9,120,147,170,172,241, film 12-13, 39-40,43-4, 62, 245 n. 9 107,116-17,118-19,121-4, ideology 1-17,33,53,62,92,93, 127,133-43,147-8,154-5, 101-7,126,135,137,205-11 157-8,165,166-7,171-2,174, passim, 213-14, 238-40; techno· 178, 184, 220 n. 55, and passim; logy and 225-33, 234 n. 16 avant-garde independent film illusion 28, 33, 37, 41,166,241 practice and 56-8, 64, 128-9, image (instance of human presence in 167, 172-4;"and instances of film) 181-2. See also star human presence in film 178-82, imaginary 5, 6, 8, 15, 53,86-101 191; and space 19-75. See also passim, 105-6, 108-9, 116, ll8, look 122,128,133,154,172-3,222, narrative image 121, 133-4, 140, 224, 234 n. 16, 242 184,239 'impossible place' 49-51 narratiVIZation 43-4, 53-4, 62, 64, 'impression of reality' 27, 31, ll4 65, 107,109,118-19,121-3, inner speech 74 n. 72, 196, 204-16 157,241 256 Index of Terms and Themes novelistic 40, 119, 125-8, 157-8, reproduction of life, idea of cinema 239 as 4-5, 25-6, 33, 53, 234 n. 16 nudity 188 rhyme, rhyming construction of narrative film 20-1, 23, 124, oedipal, fiction in narrative film 19, 154-5, 157; reference to rhyme in 142 Freud 168 ontogeny/phylogeny 197, 206,207 rules, of film composition 36, 41-3, 46;180-degreerule 41-2,60,149, painting, as comparison with cinema 152; 30-degree rule 41, 42, 60 10-11, 32,45 passage 107, 173-4 performance 113-29 passim, scopophilia, scopic 176, 177-8, 165-75 passim. See also passage, 202. See also look, voyeurism time screen 1-15 passim, 33-5, 37-8, person 180-1, 182, 183 71 n. 29 and n. 30, 87 personification 183, 192-3 n. 8 seduction 186 perspective 21,27-31, 33-7,43-9 semiology, of cinema and film passim, 53, 66, 68, 70 n. 12 and n. 131-3,194-6,223-5 20, 71 n. 26 separation 83-4 phallus, phallic order 81, 139, 160, sexual, sexuality 19, 138-9, 143, 178, 183, 185, 187, 188, 193 n. 13 145-63 passim, 17 6-7, 180, photograph, photography 26, 27-8, 182-9 passim, 192 n. 2, 202, 206, 30-2,40,48, 53, 93, 115,120, 208, 212; visual as standard of 137; Freud's use of, as image 152, 176-8, 188, 189, 192 n. 2 2-3,17 n. 3 shot length 40, 43, 231 poetic function 59-60,74 n. 78,91 signifier 52, 77, 78, 80-6, 87, 88, point of view 12, 23, 46-50, 52, 94,99,100,104,106,117-18, 53-4, 73 n. 60 and n. 66, 94, 126,134, 136,173, 187; 'potency' 96-7, 120, 147. See also look of 174 popular memory 236-8 space, construction of, in film 19-75, pornography, pornographic film 185, see also look, suture·; in early 188-9,239 film 26-7, 39-40 practicability, narrative order of 21, star 140, 181-2 134-6, 155 structural/materialist film 75 n. 86, preconstruction 107,108,173-4 165-75 property 191, 201, 240-3 style 51, 52, 146 psychoanalysis 2-4, 14, 38, 53, 63, subject 2-15 passim, 52-4, 62, 76-7,79-80,101-7,117,125-8, 76-109, 116-18, 122-8, 228, 157,162,178,197-9,201-2, 238-44, and passim; and 205-8, 212, 213; Freud's distrust individual 8, 15, 104-5, of projects for filming 3-4, 18 125-8,213,238-42; n. 3, 199; psychoanalytic situation psychoanalytic account of 104, 168, 178. See also 'talking causation of 77-84, 1l7 -18, cure', unconscious 126; subject reflection/subject process 116-17 realism 43, 51, 115-16, 137, 239; 'subjective' images, camera 46-9, 'photographic' 26, 115, 137 7 3 n. 60, 90, 120. See also point of repetition 124, 154-7, 168-9, 172, view 173 suture 13-15, 16,52-4, 62, 76-7, representation 5-7, 8, 13, 115-16, 84-101, 107-9 126-7, 159,162-3,228,234 n.l6, symbolic 6, 12, 14-15, 53, 77-9, 238-9, 242-3 81-6passim, 89-91,94,98-101, Index of Terms and Themes 257

105-6, 109, 118-19, 122, 128, unconscious 77-84, 101, 104-6, 154,172,227,242 108-9,198,202-8,212-13 universal language, idea of cinema as 'talking cure' 79, 197-8 3, 25-6, 199 technological, as instance in analysis of cinema 222-33 vision, visual 241-2; drama of, as technological codes 223-4 theme in cinema 12, 44, 161; technology 221-33 passim, 234 establishment of a coherent vision n. 9 and n. 11, 240; cinema and in cinema 26, 92, 120-1, 128, initial exploitation of interest in 147-8, 150, 228, 241; founding 221-2; industrial context of, in ideology of, in cinema 9-10, cinema 228-9; and semiology 44; images of, for ideology, 2-4; of cinema 223-5; and techniques Oshima and disturbance of 231-3 150-4; and perspective 28-31, television 108, 200, 223 70 n. 12 text, textual system 7, 9, 131-3, voice 54-6, 58, 99, 177, 178, 189- 140-1, 143, 233 91, 192, 202-3 theatre, as comparison with cinema voyeurism, voyeur 46, 48, 150, 171, 9, 11, 33, 44, 189 176-7,189,222,243 thing-presentation / word-presentation 79-80,201,203-4,205,213 time, times, in film 99, 107, 109, woman, 'the woman' as spectacle, 114-19 passim, 121-4, 127-9, image of cinema 138-9, 140, 165-75 passim, 216-17, 220 n. 55 146,148,160-3,186-7 transparency 15-16,44,51-2 writing (order of discourse) 92, 111 typage 183 n. 15 type-casting 181