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Notes

Introduction

1. See David Bloch (2007) Aristotle on Memory and Recollection: Text, Translation, Interpretation, and Reception in Western Scholasticism (Leiden: Koninglijke Brill NV), pp. 53–117. He refutes Richard Sorabji’s view, ed. (1972) Aristotle. On Memory (Providence: Brown University). 2. See John Lyons (1999) ‘Descartes and Modern Imagination’, Philosophy and Literature 23.2, 302–312. 3. See Endel Tulving (1983) Elements of Episodic Memory (Oxford: Clarendon Press); (2002) ‘Episodic Memory: From Mind to Brain’ Annual Review of Psy- chology 53, 1–25. Daniel Schacter and Endel Tulving eds. (1994) Memory Systems (Cambridge, MA: MIT Press). 4. See Daniel Schacter (1996) Searching for Memory: The Brain, the Mind, and the Past (New York: BasicBooks); (2002) The Seven Sins of Memory: How the Mind Forgets and Remembers (Boston: Houghton Mifflin). See also Morris Moscovitch (1994) ‘Cognitive Resources and Dual-task Inter- ference at Retrieval in Normal People: The Role of Frontal Lobes and Medial Temporal Cortex’, Neuropsychology 8, 524–534; (1997) ‘Memory Consolidation, Retrograde Amnesia and the Hippocampal Complex’, Current Opinion in Neurobiology 7, 217–227. Greg Miller (2007) ‘A Surprising Con- nection between Memory and Imagination’, Science 19 January, http://www. sciencemag.org/content/315/5810/312.summary. Accessed 20 April 2012. 5. Charles Baudelaire (1965) ‘The Salon of 1846’ in Art in 1845–1862 trans. and ed. Jonathan Mayne (Ithaca, NY: Cornell University Press), p. 94. He also distinguishes between a memory of the hand and a memory of the brain, ‘manual rather than intellectual’, p. 92. Hereafter AP. 6. Julien Zanetta (2012) ‘Le chic, la mémoire et l’imagination’, L’année Baudelaire 15, 102–122. In his dissertation at the University of Geneva, Zanetta studies the various forms of memory in Baudelaire and the devel- opment of his conceptions from 1846 to 1862. 7. Sergei Eisenstein (1984) ‘Diderot a parlé de cinéma’, Europe (Issue: ‘Diderot’), pp. 135–150. Eisenstein wrote this article in 1943. See Jean-Claude Bonnet (1995) ‘Diderot a inventé le cinéma’, Recherches sur Diderot et sur l’Encyclopédie 18, 27–33; Roland Barthes (1977) ‘Diderot, Brecht, Eisenstein’ in Image Music Text. Essays selected and trans. Steven Heath (Hammersmith, London: Fontana Press), pp. 70–71. 8. Stanley Cavell (1979, first ed. 1971) The World Viewed (Cambridge, MA; London: Harvard University Press), p. 43. 9. Ibid., p. 41. 10. At the beginning of The Painter of Modern Life, Baudelaire deplores those visitors of the Louvre who walk rapidly through the museum galleries

212 Notes 213

admiring only a Titian or a Raphael, and disregarding secondary interesting paintings that offer historical documentation. 11. Charles Baudelaire (1965) The Painter of Modern Life and Other Essays trans. and ed. Jonathan Mayne (London: Pahidon Press), p. 15. Hereafter PML. I discussed the theme of memory and imagination in Patrizia Lombardo (1997) ‘Baudelaire et le beau mensonge de la peinture’ in Le Beau Mensonge (Rabat: Université Mohammed V, Faculté des lettres et des sciences humaines), pp. 63–86. 12. See Kendall Walton (1990) Mimesis as Make-believe: On the Foundations of the Representational Arts (Cambridge, MA: Harvard University Press); Noël Carroll (2002) ‘The Wheel of Virtue: Art, Literature, and Moral Knowledge’, The Journal of Aesthetics and Art Criticism 60/1, 3–26. 13. Ronald de Sousa (2005) ‘The Art of the Possible in Life and Literature’ in Experience and Analysis, ed. M. E. Reicher and J. C. Marek (Vienna: htp-öbv), p. 349. 14. David Bordwell (1982) Narration in the Fiction Film (Madison, Wisconsin: The University of Wisconsin Press), p. 88. 15. David Bordwell (2007) Poetics of Cinema (Routledge: New York and Oxon), p. 23. 16. Ibid., p. 4.

1 Living in Manhattan in the 19th Century

1. (2003) : Making the Movie (New York: Books), p. 20. 2. Stéphane Mallarmé (1945) Œuvres Complètes (Paris: Gallimard ‘Bibliothèque de la Pléiade’), p. 366; Selected Poetry and Prose (1982) trans. Mary Ann Caws (New York: New Directions Books), p. 75. Mallarmé’s idea of ‘the disappearance of the poet as speaker’ has been discussed in various essays by Marice Blanchot. See (1959) ‘Le livre à venir’ in Le Livre à venir (Paris: Gallimard, Folio); and (1949) ‘Le mythe de Mallarmé’ in La part du feu (Paris: Gallimard). 3. showed this in his F for Fake: some degree of charlatanism is essential for art, and artists take or ‘steal’ from here and there; indeed they pinch ideas and stereotypes from the past and present history of the arts. As declared by the protagonist, after all what matters in art is not the difference between the true original and the fake, but the difference between a bad fake and a good fake. 4. Martin Scorsese (1998) Mes Plaisirs de cinéphile (Paris: ), p. 86. Hereafter MPC. This article was first published in (1995) Les Cahiers du Cinéma 500. The whole issue is on Scorsese. 5. David Bordwell (1982) Narration in the Fiction Film (Madison, Wisconsin: The University of Wisconsin Press), p. 88. Among the rich literature on narra- tive see Gregory Currie (2010) Narrative and Narrators: A Philosophy of Stories (Oxford, New York: Oxford University Press). 6. André Malraux (1951) Les Voix du silence (Paris: Gallimard), p. 110. See also the preface of Jean-Claude Larrat in André Malraux (2003) Esquisse d’une psychologie du cinéma (Paris: Nouveau Monde), pp. 17–25. 214 Notes

7. Stendhal (1982) Journal Œuvres intimes II (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 231. ‘I protest again that I do not pretend to paint things in themselves, but only their effect on me’ Stendhal (1982) Vie de Henry Brulard in Œuvres intimes II (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 671. 8. See Bordwell, Narration in the Fiction Film cit. p. 99. 9. See http://www.nytimes.com/2012/06/14/nyregion/henry-hill-mobster-of- -dies-at-69.html?_r=2&pagewanted=all&. Accessed 12 June 2013. 10. Robert Fisk (20 January 2013) ‘Ben Affleck, Argo and a Chilling Portrait of Suspicion and Vengeance in Postrevolutionary Tehran’, http://www. independent.co.uk/voices/comment/ben-affleck-argo-and-a-chilling-portrait- of-suspicion-and-vengeance-in-postrevolutionary-tehran-8459100.html. Accessed 4 April 2013. 11. See Ted Chamberlain (24 March 2003) ‘Gangs of New York: Fact vs. Fiction’ in National Geographic. http://news.nationalgeographic.com/news/2003/03/ 0320_030320_oscars_gangs.html. Accessed 23 June 2013. ‘Dead Rabbits’ comes from the Gaelic ráibéad meaning ‘big hulking fellow’ or ‘thug’ and the 1850’s slang ‘dead’ meaning ‘very’. 12. William J. Stern, ‘What Gangs of New York Misses’ http://www.city-journal. org/html/eon_1_14_03ws.html. Accessed 23 May 2013. 13. This important critic interrogated the category of the ‘romanesque’. See Albert Thibaudet (1938) Réflexions sur le roman (Paris: Gallimard), pp. 110–116. 14. Walter Benjamin (1989 first published 1969) ‘Thesis on the Philosophy of History’ in Illuminations: Essays and Reflections (New York: Harcourt, Brace & World), p. 256. should be added that Gangs of New York ends on a final note of hope: the two young lovers, Amsterdam and Jenny, look at the spectacle of New York and the city opens up in space and time, transforming its skyline into the contemporary one. 15. See Seth F. Abrams and Roes Keefe (2011) The Killing of Bill the Butcher: William Poole and the Battle for Old New York (New York: Gotham Press). 16. Edgar Allan Poe (1984) ‘The Man of the Crowd’ in Poetry and Tales (New York: The Library of America), p. 395. 17. Peter Goldie (2011) Empathy: Philosophical and Psychological Perspectives (Oxford: Oxford University Press). Keith Oatley (2009) ‘Literature and Emo- tion’ in D. Sander, and K.R. Scherer (eds.) The Oxford Companion to Emotion and the Affective Sciences (Oxford: Oxford University Press); and (2011) ‘The- ory of Mind and Theory of Minds in Literature’ in P. Leverage, H. Mancing, R. Schweickert and J. M. William (eds.) Theory of Mind and Literature (West Lafayette, IN: Purdue University Press), pp. 13–26. 18. Noël Carroll (1990) The Philosophy of Horror, or Paradoxes of the Heart (New York: Routledge), p. 74. 19. ‘The processing of real and fictional scenarios activated a common set of regions including medial-temporal lobe structures.’ (Anna Abraham, D. Yves von Cramon and Ricarda I. Schubotz (2008) ‘Meeting George Bush versus Meeting Cinderella’, Journal of Cognitive Neurosciences 20(6), 965). http:// www.mitpressjournals.org/doi/abs/10.1162/jocn.2008.20059. Accessed 30 June 2013. Notes 215

20. Plato (1969) Plato in Twelve Volumes Vols. 5 & 6 trans. Paul Shorey (Cambridge, MA, Harvard University Press; London, William Heinemann Ltd) (Book 10, 598b). 21. As indicated by Noël Carroll (1997) ‘Art, Narrative and Emotions’ in Mette Hjort and Sue Laver eds. Emotion and the Arts (New York, Oxford: Oxford University Press), pp. 194–200. 22. Aristotle (1995) Poetics in The Complete Works of Aristotle ed. Jonathan Barnes (Princeton: Princeton University Press), p. 2326 (1453b). 23. ‘The emotions are all those feelings that so change men as to affect their judgements, and that are also attended by pleasure and pain. Such are anger, pity, fear and the like with their opposities.’ (Aristotle Rhetoric Book 2 in The Complete Works of Aristotle cit., p. 2195 (1378a). 24. William Hazlitt (1998) ‘’ in Duncan, W.U. ed. The Selected Writings of William Hazlitt vol. I (London: Pickering and Chatto), p. 112. Hazlitt’s essay was published in 1817. 25. David Hume (1978) Treatise of Human Nature (Oxford: Clarendon Press), p. 593. 26. Adam Smith (1976) The Theory of Moral Sentiments (Oxford: Clarendon Press), VII, iii, 1, 4, p. 317. 27. William Hazlitt (1998) An Essay on the Principles of Human Action: Being an Argument in Favour of the Natural Disinterestedness of the Human Mind in The Selected Writings of William Hazlitt vol. I cit., p. 3. 28. Stendhal (1980) Histoire de la Peinture en Italie t. 1 (Paris: Éditions d’Aujourd’hui), p. 206. 29. Stendhal (1962) Racine and Shakespeare trans. Guy Daniels (New York: Crowell-Collier Press), p. 22; Racine et Shakspeare ed. Henri Martineau (Paris: Le Divan), p. 8. 30. Oscar Wilde (1997) ‘The Decay of Lying’ in Collected Works (Chatham, Kent: Wordsworth Edition Limited), p. 927. 31. See André Bazin (1975) Qu’est-ce que le cinema (Paris: Editions du Cerf); (1971) What is Cinema II trans. Hugh Gray (Berkeley and Los Angeles: University of California Press). See especially ‘Aestheticism, and Reality’ and ‘An Aesthetic of Reality: Cinematic Realism and the Italian School of the Liberation’, pp. 16–40. 32. Among the many works by Gregory Currie (1995), see ‘Imagination and Simulation’ in M. Davies and T. Stone eds. Mental Simulation (Oxford, Basil Blackwell), pp.151–169. On readers’ and spectators’ relationship to fiction see Gérard Genette (1983) Nouveau Discours du récit (Paris, Éditions du Seuil); Jean-Marie Schaeffer (1999) Pourquoi la fiction (Paris, Éditions du Seuil); J.-A. Olsen (2005) ‘Film, Fiction et Narration’, Poétique, 141, 71–79. On the question of empathy and simulation see also: Frederic Adams (2001) ‘Empathy, Neural Imaging and the Theory versus Simulation Debate’, Mind and Language, 16, 368–392; H. Kölger and K. Stueber eds. (2000) Empathy and Agency: The Problem of Understanding in the Human Sciences (Boulder: Westview); Peter Goldie (1999) ‘Understanding Other People’s Emotions’, Mind and Language, 14(4), 394–423; Julien Deonna (2007) ‘The Structure of Empathy’, Journal of Moral Philosophy, 4(1); Margarethe Bruun Vaage (2009) 216 Notes

‘The Role of Empathy in Gregory Currie’s Philosophy of Film’, British Jour- nal of Aesthetics, 49(2), 109–128; Kevin Mulligan (1999) ‘La varietà e l’unità dell’immaginazione’, Rivista di estetica, 11(2), XL, 53–67. 33. Gustave Flaubert (1892) Madame Bovary trans. Eleanor Marx-Aveling (London: Gibbings), pp. 246–247. 34. Edgar Allan Poe (1984) ‘The Murders in the Rue Morgue’ in Poetry and Tales cit., p. 402. 35. Edgar Allan Poe (1850) ‘The Works of the Late Edgar Allan Poe’ in Rufus W. Griswold ed. (1850–1856) The Literati, vol. III (New York: J. S. Redfield; Boston: B. B. Mussey & CO), p. 579. 36. Stendhal (1971) Voyages en Italie (Paris: Gallimard, ‘Bibliothèque de la Pléiade), p. 480. Journal of 23 January 1817. 37. See Graziella Magherini (1989) La sindrome di Stendhal (Florence: Ponte degli Angeli). 38. R. G. Collingwood’s major works were both published posthumously: The Idea of History (1946) and The Principles of History (1999). Donald Davidson (1963) ‘Actions, Reasons and Causes’ in D. Davidson ed., Essays on Actions and Events (Oxford and New York: Oxford University Press); and (2001) ‘Rad- ical Translation’ in Inquiries into Truth and Interpretation (Oxford: Clarendon Press). Willard Van Orman Quine (1960) Word and Object (Cambridge, MA: The MIT Press). 39. The series, premiered in September 2010, is adapted by Terence Winter, the producer of The Sopranos and based on the romanticized history book by Nelson Johnson [no relation to Enoch L. Johnson] (2002) Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City (New York: Plexus Publishing). 40. Max Scheler (2008) The Nature of Sympathy trans. Peter Heath (New Brunswick, NJ: Transaction Publishers), p. 9. 41. David Thompson and Ian Christie eds. (1996, first ed. 1989) Scorsese on Scorsese (London, Boston: Faber and Faber), p. 4. Hereafter SS. 42. Scorsese (2013) ‘The Persisting of Vision: Reading the Language of Cinema’ in New York Review of Books 15 August, http://filmmakeriq.com/2013/07/ martin-scorsese-on-the-persisting-vision-reading-the-language-of-cinema/ Accessed 1 September 2013. 43. See Kubrick’s interview with Michel Ciment http://www.youtube.com/ watch?v=g2MF4sBYUy4. Accessed 30 August 2013. 44. Poe (1984) ‘The Man of the Crowd’ in Poetry and Tales cit., p. 395. 45. Sergei Eisenstein (1949, 1977) ‘A Dialectic Approach to Film Form’ in Film Form: Essays in Film Theory (San Diego, New York, London: Harcourt, Inc.), p. 51. 46. Baudelaire (1975) ‘Mon cœur mis à nu’ in Œuvres Complètes 1 (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 702. 47. Quoted in Pierre Giuliani (1990) Kubrick (Paris: Rivages/Cinéma), p. 190. 48. See Paolo Virilio (2009) The Aesthetics of Disappearance (Los Angeles: Semiotext). ‘As Guillaume Apollinaire wrote on the subject of in about 1913, the main aim of the new art is to register the waning of reality:anaes- thetic of disappearance had arisen from the unprecedented limits imposed on subjective vision by the instrumental splitting of modes of perception and representation.’ (see Virilio (2004) The Vision Machine (Bloomington and Notes 217

Indianapolis: Indiana University Press), p. 49. First published in English in 1994 by British Film Institute. French original: (1988) La Machine de vision (Éditions Gallilée). My emphasis. 49. Johan Huizinga (1968) The Waning of the Middle Ages (Harmondsworth: Penguin), p. 25. The book was first published in Dutch in1919. 50. Herman Melville (1947) ‘Collected Poems of Herman Melville’ v. 14 in Howard P. Vincent ed. Collected Works of Herman Melville (Packard and Company, Hendrick House: Chicago and New York), p. 231. 51. Baudelaire (1975) Œuvres Complètes, cit., p. 701. 52. Scorsese admires his films (in particular he mentioned his first movie in 1964, Prima della rivoluzione): ‘For me Bertolucci has always been in the great tradition of Italian paintings.’ [Mes plaisirs de cinéphile, p. 72]

2 Memory and Astonishment in Shutter Island

1. Dennis Lehane (2003) Shutter Island (New York: Morrow). The novel was adapted as a cartoon in 2008 by Christian de Metter. Laeta Kalogridis was the executive producer of Avatar (2009) by . 2. Hitchcock (Paris: Ramsay 1964, written in collaboration with Helen Scott). The book was re-edited in 1983 just before Truffaut died, and was republished in 2006 by Editions Gallimard. 3. Anthony Lane (2010) ‘Shutter Island and A Prophet’ in New Yorker, 1 March. 4. See Serge Kaganski ‘The Film-maker Analyses Modern Atrocities from Shoah to Abu Ghraib’, Les Inrockuptibles, http://www.lesinrocks.com/cine/cinema- article/article/shutter-island/ Accessed 2 April 2010. 5. See Introduction. 6. Jonathan Romney, http://www.independent.co.uk/arts-entertainment/films/ reviews/shutter-island-martin-scorsese-138-mins-15-1920891.html. Accessed 10 March 2010. 7. Plato (1921) Theaetetus in Plato in Twelve Volumes, Vol. 12 trans. Harold N. Fowler (Cambridge, MA: Harvard University Press; London: William Heinemann Ltd.) 155d: ‘Theodorus seems to be a pretty good guesser about your nature. For this feeling of wonder shows that you are a philosopher, since wonder is the only beginning of philosophy ...’ Aristotle (1933, 1989) Metaphysics in Aristotle in Twenty-Three Volumes, Vols. 17, 18, trans. Hugh Tredennick (Cambridge, MA: Harvard University Press; London: William Heinemann Ltd.), I, ii, 982b: ‘It is through wonder that men now begin and originally began to philosophize; wondering in the first place at obvious perplexities, and then by gradual progression raising questions about the greater matters too ...’ 8. Scorsese (2013) ‘The Persisting Vision: Reading the Language of Cinema’ cit. The Magic Box is a 1951 film by John Boulting starring Robert Donat as William Friese-Greene, the British photographer who is considered the inventor of the moving picture and the cinematic camera. 9. Discussing photography and its effects, Walter Benjamin talked about the ‘optical unconscious’. See (1999) ‘Little History of Photography’, in Selected Writings Vol. 2. ed. Michael W. Jennings, Howard Eiland and Gary Smith. 218 Notes

Trans. Edmund Jephott and Kingsley Shorter (Cambridge, MA; London: The Belknap Press of Harvard University Press), p. 510. 10. Baudelaire (1975) Flowers of Evil trans. and introduced by Johanna Richardson (London: Penguin Books), p. 207. 11. Luckily this brilliant journalist, who graduated from Cambridge University, is capable of self-irony, as is apparent from his foreword to (2002) Nobody’s Perfect: Writings from The New Yorker (New York: Alfred A. Knopf). 12. Scorsese wrote the introduction to Tim Lucas (2007) : All the Colors of the Dark (Cincinnati: Video Watchdog). 13. See http://www.premiere.fr/Cinema/Exclus-cinema/Interview-cinema/EXCLU- Interview-Martin-Scorsese-parle-de-Shutter-Island. Accessed 20 March 2011. 14. See Scorsese, http://www.cinemovies.fr/fiche_info-16142-prod.html. Accessed 2 April 2010. 15. Lynch’s style is treated in my last chapter. 16. Aldo Rossi (1981) A Scientific Autobiography (Cambridge, MA: The MIT Press), p. 81. 17. ‘Shooting Shutter Island, I found myself climbing at 715 in the morning in order to find a good site for a frame.’ http://www.films-horreur.com/2010/ 02/shutter-island-entretien-avec-martin-scorsese/ Accessed 20 March 2011. 18. Gustave Flaubert (1904) The Temptation of St. Anthony or, A Revelation of the Soul (Chicago: Simon P. Magee Publisher), pp. 169–170. 19. And very recently Scorsese has shown also the comic potential of this incredible actor in The Wolf of Wall Street (2013). 20. Mark Savage (2011) ‘Can Martin Scorsese’s Hugo Save 3D?’ 2 December, http://www.bbc.co.uk/news/entertainment-arts-15967276. Accessed 14 January 2013.

3 Style and Signature in Film

1. Gregory Currie (2010) Narratives and Narrators cit. p. 1. Ronald De Sousa (2005) ‘The Art of the Possible in Life and Literature’ cit., 351. My emphasis. 2. See Pierre Bourdieu (1979) La Distinction, critique sociale du jugement (Paris: Minuit). For Bourdieu to seek a distinction means to state one’s own attitude in our consumer society, exhibiting agreements and refusals, tying up with some social groups or others. For a very good synthesis of the various contem- porary tendencies in understanding the notion of style and ‘stylization’ see Laurent Jennny (2000) ‘Du style comme pratique’, Littérature, 118, 98–117. 3. See Jean-Loup Bourget (1998) Hollywood: La Norme et la Marge (Paris: Nathan), pp. 9–90. On the essay in film see S. Liandrat-Guigues and M. Gagnebin eds. (2004) L’Essai et le Cinéma (Seyssel: Champ Vallon). 4. See Meyer Schapiro (1961) ‘Style’ in Morris H. Philipson ed. Aesthetics Today (: World), pp. 81–113; ‘Style’ Theory and Philosophy of Art: Style, Artist, and Society. Selected Papers (New York: Braziller), pp. 51–102. 5. See David Bordwell (2006) The Way Hollywood Tells It: Story and Style in Mod- ern Movies (Berkeley, Los Angeles, London: University of California Press), pp. 117–189. 6. See André Bazin (1972, 1971) ‘De Sica: Metteur en scène’ in What is Cinema? trans. Hugh Gray (Berkeley, Los Angeles, London: University of California Press), pp. 61–82. Notes 219

7. See André Bazin (1972) Orson Welles (Paris: Éd. du Cerf); (1991) Orson Welles: A Critical View (Venice, CA: First Acrobat Books), pp. 64–82. 8. See Peter Biskind (1998) Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘n’ Roll Generation Saved Hollywood (New York: Simon & Schuster). 9. See Jacques Aumont (1990) L’Image (Paris: Nathan), pp. 222–226. 10. Marcel Proust (1971) ‘Notes sur le monde mystérieux de Gustave Moreau’ in Contre Sainte-Beuve: Essais et Articles (Paris: Gallimard, coll. ‘Bibliothèque de la Pléiade’), p. 669. 11. Lawrence Friedman (1999) The Cinema of Martin Scorsese (New York: The Continuum Publishing Company), p. 8. 12. Marcel Proust (1971) ‘Notes sur le monde mystérieux de Gustave Moreau’ in Contre Sainte-Beuve cit., p. 305. 13. David Bordwell (2006) The Way Hollywood Tells It cit., pp. 134–138. 14. Baudelaire (1970 first ed. 1947) Paris Spleen II (New York: New Directions Books), p. X. 15. See ‘ in Furious Rant over Django Unchained Violence Questions’ in The Daily Telegraph http://www.telegraph.co.uk/culture/film/ film-news/9794854/Quentin-Tarantino-in-furious-rant-over-Django- Unchained-violence-questions.html. Accessed 23 May 2013.

4 Bazin, Bresson and Scorsese: Performatives in Film

1. John Langshaw Austin (1962, 1980 2nd ed.) How to Do Things with Words Ed. J. O. Urmson and Marina Sbisà (Oxford: Oxford University Press), pp. 21–22. The paragraph continues like this:

Language in such circumstances is in special ways – intelligibly – used not seriously, but in ways parasitic upon its normal use – ways which fall under the doctrine of the etiolations of language. All this we are excluding from consideration. Our performative utterances, felicitous or not, are to be understood as issued in ordinary circumstances.

The term ‘parasitic’ to indicate literary language scandalized the theorists of the signifier. See Jacques Derrida (1972) Marges de la Philosophie (Paris: Éditions de Minuit). In English (1982) ‘Signature Event Context’, in Mar- gins of Philosophy trans. Alan Bass (Chicago: Chicago University Press), pp. 307–329. 2. Hillis Miller (1987) The Ethics of Reading (Irvine, California), p. 5. From now on: Miller. 3. ‘Cinema’ is the term used by André Bazin in the 1940s and 1950s. Here, it is used as a synonym for film, which has three meanings: the art form, the medium and the photographically based film (cinema, the art form in its traditional medium). 4. See Rudolf Arnheim (1957) Film as Art (Berkeley, CA: University of California Press). Arnheim insisted on the great expressivity that is possible with film, exactly because it opens some perceptions of time and space that are impos- sible in real life for human beings. Walter Benjamin recalled in his essays the shock caused in the viewers of photography in the 19th century; at the same 220 Notes

time he could predict the habits of technology users, who will lose the aston- ishment provoked by the first appearance of new techniques. likes to say that he wants his films to wrap the audience in music and , and therefore let them have an experience at odds with normal life, closer to a dream, transforming matter and weight and injecting into the human mind all the potential of the virtual. 5. I follow here the rich discussion on Bazin, Currie and Walton in Katherine Thomson-Jones (2008) Aesthetics and Film (London, New York: Continuum International Publishing Group), pp. 16–39. 6. Noël Carroll (1998) Interpreting the Moving Image (Cambridge: Cambridge University Press), p. 64. See also Currie (1995) Image and Mind: Film, Philoso- phy and Cognitive Science (Cambridge: Cambridge University Press). Although Currie seems to believe that the knowledge value of literature is feeble, he points out one connection between fiction and emotions: ‘fictional narra- tives of real value ought to have some significant relation to what is true, particularly in the domain of human psychology’. [Narrative and Narrators cit. p. 209.] 7. ‘There is a crucial structure of laterality at work here [in Blow-Up by Antonioni] (demonstrable elsewhere in contemporary literature), by which perception or experience requires a kind of partial distraction, a lateral engagement or secondary, peripheral focus, in order to come into being at the first place.’ [Fredric Jameson (1990) Signatures of the Visible (New York; London: Routledge) p. 191.] 8. Martha Nussbaum (1990) Love’s Knowledge (New York: Oxford University Press), p. 5. See also the chapter ‘Perceptive Equilibrium: Literary Theory and Ethical Theory’, pp. 168–194. 9. We have seen that, for Baudelaire, a work of art is the translation of an artist’s thoughts. 10. See Nico Frijda (1986) The Emotions (New York: Cambridge University Press); Klaus Scherer, Angela Schorr and Tom Johnstone eds. (2001) Appraisal Processes in Emotion: Theory, Methods, Research (New York, Oxford: Oxford University Press). 11. See Bazin (1967) What is Cinema? pp. 53–75 and pp. 125–143. These articles were seminal for François Truffaut’s essay, and almost manifesto; (1954) ‘Une certaine tendance du cinéma français’ Les Cahiers du cinéma, 31, 16–29, in which he attacks the naive idea of a faithful transposition of narratives from novels to film. For a recent debate on adaptation and on Bazin’s concep- tions see Colin MacCabe, Kathleen Murray and Rick Warner (2011) True to the Spirit: Film Adaptation and the Question of Fidelity (New York: Oxford Uni- versity Press). On film and literature: Marc Cerisuelo and Patrizia Lombardo eds. (2013) Critique 795–796 (Special Issue ‘Cinélittérature’). 12. In the first few minutes of , Charlie talks to God in a church: ‘The pain in hell has two sides. The kind you can touch with your hand. The kind you can feel in your heart, your soul, the spiritual side. And ya know ...the worst of the two ...is the spiritual.’ 13. Today, we talk of intermediality meaning the continuous exchange among various media, as well as the simultaneous production of books and films referring the ones to the others. For the analysis of the relationship between literature and the contemporary visual culture see Jan Baetens and Ari Notes 221

J. Blatt (November 2008) Writing and the Image Today, Yale French Stud- ies p. 114; Ari J. Blatt (September 2009) ‘Phototextuality: Photography, Literature, Criticism’ Visual Studies 24:2, 108–121. 14. Telling, teaching, even describing, that’s all very well and yet all that would be needed perhaps to exchange our thoughts as humans would be to take from or leave in the hand of another a coin, in silence, but the elementary use of speech serves the universal reporting in which all the contemporary written genres participate, with the exception of literature.

Mallarmé ‘Crise de vers’ trans. Rosemary Lloyd (1999, 2005), Mallarmé: The Poet and His Circle (Ithaca: Cornell University Press), p. 233. 15. Some critics have insisted on the tactile dimension of Bresson’s movies. See Michel Estève (1962) (Paris: Seghers). 16. Robert Bresson (1993) Notes sur le cinématographe (Paris: Gallimard), p. 35. 17. Hillis Miller (1990) Tropes, Parables, and Performatives (Durham: Duke Uni- versity Press), p. 139. Miller also adds that things might work even if the context is not right as in the case of counterfeit money or bad cheques. 18. See the volumes which now constitute a classic in film studies: Gilles Deleuze (1991 and 1994) L’Image-mouvement and L’Image-temps (Paris: Ed. de Minuit). In English (1983) Cinema 1: The Movement Image trans. Hugh Tomlinson and Barbara Haberjam (London: Athlone Press); (1985) Cinema 2: The Time-Image trans. Hugh Tomlinson and Robert Galeta (London: Athlone Press). 19. See Paul Virilio (1998) Esthétique de la disparition (Paris: Éd. Galilée, 1998), and (1995) La vitesse de libération (Paris: Éd. Galilée). In English: (2004) The Paul Virilio Reader ed. Steve Redhead (New York: Columbia University Press). See Chapter 1, p. 46. 20. See Chapter 1, p. 41. 21. The state of society without government is one of the most natural states of men, and must submit with the conjunction of many families, and long after the first generation. Nothing but an increase of riches and possessions cou’d oblige men to quit it; and so barbarous and unin- structed are all societies on their first formation, that many years must elapse before these cou’d encrease to such a degree, as to disturb men in the enjoyment of peace and concord. But tho’ it be possible for men to maintain a small uncultivated society without government, ’tis impossi- ble they shou’d maintain a society of any kind without justice, and the observance of those three fundamental laws concerning the stability of possession, its translation by consent, and the performance of promises. These are, therefore, antecedent to government, and are suppos’d to impose an obligation before the duty of allegiance to civil magistrates has once been thought of. Nay, I shall go farther, and assert, that govern- ment, upon its first establishment, would naturally be supposed to derive its obligation from those laws of nature, and, in particular, from that concerning the performance of promises.

[Hume (1978) A Treatise of Human Nature, ed. L. A. Selby-Bigge with text and revised notes by P. H. Niddich (Oxford: Clarendon Press), p. 541. Hume’s emphasis.] 22. As Pete Hammill put it: ‘[ ...] this movie is an honorable – if misguided – attempt to recreate a lost world. But it is, after all, a movie. It will, in the end, 222 Notes

be judged as art, not history’ [Hammill (2002) ‘Trampling City’s History’ in Daily News, 14 December]. A more positive review: Todd McCarthy (2002) ‘Gangs of New York’ in Variety, 5 December. http://www.variety.com/review/VE1117919499.html? categoryid=31&cs=1. Accessed 10 September 2002. 23. I have already commented in Chapter 1 on the words ‘Very Shakespearean’ pronounced by Monk, p. 53.

5 ’s Philosophy of Composition

1. Juan A. Suárez (2007) Jim Jarmusch (Urbana and Chicago: University of Press), p. 13. 2. Xan Brooks (2000) ‘Ghost Dog: The Way of the Samurai’ Sight and Sound, http://old.bfi.org.uk/sightandsound/review/371. Accessed 30 March 2011. 3. Interview with Harlan Jacobson, in Ludwig Hertzberg (2001) Jim Jarmusch Interviews (Jackson: University Press of Mississippi), p. 13. Hereafter Hertzberg. 4. As I have argued in Chapter 1, p. 18. 5. Julian Rice (2012) The Jarmush Way: Spirituality and Imagination in , Ghost Dog and (Lanham, Toronto, Plymouth: The Scarecrow Press), p. 7. 6. Jonathan Rosembaum (2000) Dead Man (London: British Film Institute), p. 51 7. See Philippe Ortoli (2000) ‘À la recherche des genres perdus’ Lettre du cinéma 12, p. 23. 8. Juan A. Suárez Jim Jarmusch cit. p.159. Interview reprinted from (2000) ‘New York Film-makers on Film-making’ Projection 11, p. 253. 9. Fredric Jameson (1992) ‘The Existence of ’ Signatures of the Visible cit., p. 186. 10. Juan A. Suárez (2007) Jim Jarmusch cit., p. 5. 11. Juan A. Suárez points to the importance of Robert Frank: ‘Like Frank, Jarmusch extracts a laconic poetry from public spaces and peripheral sub- jects [ ...] If Frank portrays the underbelly of the Eisenhauser era, Jarmusch does the same with Reagan’s America.’ [Jim Jarmusch, cit., p. 36.] 12. Baudelaire (1970) Paris Spleen cit.,p.1.

6 Minimalist Aesthetics in Gerry

1. Does anything really happen in Van Sant’s movie. http://www.geraldpeary. com/interviews/stuv/van-sant.html. Accessed 30 May 2013. 2. See Jacques Rancière (1998) La Parole Muette (Paris: Hachette). 3. See http://www.lesinrocks.com/cine/cinema-article/article/entretien-gvs-gerry- 0304/ Accessed 15 April 2013. 4. See http://movies.nytimes.com/movie/260308/Gerry/overview. Accessed 30 Januray 2011. 5. See http://www.geraldpeary.com/interviews/stuv/van-sant.html cit. 6. ‘I’ve seen a few people walk out at the really big screenings. The same thing could happen at a screening. Gerry isn’t a film for Notes 223

everyone. [ ...] If people are looking for a particular thing and they don’t see it, they get angry.’ [Van Sant http://www.slantmagazine.com/film/features/ gusvansant.asp. Accessed 2 December 2009.] 7. Jean-Baptiste Morain (2 January 2004) http://www.lesinrocks.com/cine/ cinema-article/article/gerry/. Accessed 12 December 2009. 8. Yannick Vély, http://archive.filmdeculte.com/film/film.php?id=317. Accessed 2 December 2009. 9. I am not taking into account some very quick appearances: a car in the first minutes; the encounter with a family when the two enter the desert; and at the end the family in the car taking in the surviving Gerry Matt. 10. See Jean-Luc Lacuve http://www.cineclubdecaen.com/realisat/vansant/gerry. htm. Accessed 9 April 2009. 11. See Jean-Francois Lyotard (1993) The Postmodern Condition: A Report on Knowl- edge trans. Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press). Lyotard explores the new forms of circulation of capital in postindustrial and postmodern societies and transformation of knowledge into commodity, foreseeing that nation-state power will fight for the control of information as much as in the past nation states were fighting for the control of territories. 12. Stendhal (1952) Le Rouge et le Noir: Romans et Nouvelles (Paris: Gallimard, Bibliothèque de la Pléiade), p. 273. 13. Stendhal’s characters are ‘ergoteurs’ (ergo=therefore, from the famous Descartes’ Cogito ergo sum). See Léon Blum (1947) Stendhal et le Beylisme (Paris: Albin Michel), p. 140. On Stendhal’s descriptions, Georges Blin (1954) Stendhal et les problèmes du roman (Paris: Éditions José Corti). Some critics talk about Stendhal’s cinematographic style: see Laurent Jullier and Guillaume Soulez (2006) Stendhal: Le désir de cinéma and Privilèges du 10 avril 1840 de Stendhal (Paris: Séguier); and François Jost (1987) L’œil-caméra: Entre film et roman (Presses universitaires de Lyon: Lyon). 14. See the first poem of Les Fleurs du Mal, The Flowers of Evil cit., 29. 15. Maurice Blanchot (1973) La Folie du jour (Paris: Fata Morgana); (1981) The Madness of the Day. Trans. Lydia Davis (Barrytown, NY: Station Hill Press), p. 14. 16. Samuel Beckett (1953) L’Innomable (Paris: Édition s de Minuit). Last novel of a trilogy, after Molloy and Malone Dies. Adapted by Beckett into English (1953) The Unnamable (London: Grove Press), p. 380. 17. The show lasted from 1975 until 1991. 18. http://www.lesinrocks.com/cine/cinema-article/article/entretien-gvs-gerry- 0304/ cit. 19. David Bordwell rightly considers that contemporary innovative filmmakers have not really changed the system of Hollywood filmmaking, but the techniques. See (2006) The Way Hollywood Tells It cit, pp. 115–189. 20. Les Inrockuptibles, 3 March 2004. http://www.lesinrocks.com/cine/cinema- article/article/entretien-gvs-gerry-0304/. Accessed 3 May 2010. 21. In Slant Magazine, Van Sant comments: ‘That particular scene always did look like there was something sexual going on. I don’t think it needed to be that way.’ http://www.slantmagazine.com/film/features/gusvansant.asp. Accessed 5 May 2010. 224 Notes

22. See Ali Benmakhlouf (2001) ‘G. Frege sur la négation comme opposition sans force’, Revue de métaphysique et de morale 30, pp. 7–19. 23. Gustave Flaubert (1980) Correspondance II (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 31. My emphasis. 24. Marcel Proust (1971) ‘À propos du style de Flaubert’ in Essais et Articles, Contre Sainte-Beuve (Paris: Gallimard, ‘Bibliothèque de la Pléiade’), p. 587. 25. Ibid., p. 582. 26. Claude Brémond (1966) ‘La logique des possibles narratifs’ Communication 8, pp. 60–76. The journal Communication played an important role in the whole structuralist turn. 27. , Interview with Jean-Marc Lalanne and Olivier Nicklaus Les Inrockuptibles (2 March 2004) http://www.lesinrocks.com/cine/cinemaarticle/ article/entretien-gvs-gerry-0304/ Accessed 2 April 2009. 28. See Jeoff Smith (1999) ‘An Interview with Arvo Pärt: Sources of Inven- tion’ Musical Times. http://findarticles.com/p/articles/mi_qa3870/is_199910/ ai_n8871672/?tag=content;col1. Accessed 2 December 2009.

7 Space and Long Takes in Paranoid Park

1. ‘An Interview with Gus Van Sant. The director discusses his new film Elephant with IGNFF’s Steve Head, October 22, 2003’ http://www.ign.com/articles/ 2003/10/23/an-interview-with-gus-van-sant?page=2. Accessed 10 March 2012. See (2007) Cyril Neyrat ‘Le monde est un parc’ Cahiers du cinéma 627, October, p. 12. 2. http://www.bookforum.com/inprint/014_05/2048. Accessed 5 August 2013. 3. This movie was inspired by a novel (not yet published at the time) by James Fogle, an imprisoned drug dealer. See Van Sant’s 1992 interview with Amy Tobin in Jim Hillier (2001) American Independent Cinema (London: British Film Institute), pp. 79–85. 4. http://bombsite.com/issues/45/articles/1699. Accessed 23 August 2013. 5. Gus Van Sant (1998) Pink (London: Faber and Faber). This novel is themati- cally similar to Junkie by William Borroughs, who incidentally had a role in Van Sant’s 1989 film, . One of Van Sant’s least critically suc- cessful films, Even Cowgirls Get (1994), is the adaptation of a cult road novel from 1974 by , an author born in the South but who lives in Seattle. 6. Van Sant pays tribute to him through the title Elephant, requesting permission to use the same title as that of Clarke’s Elephant (1989), a 39-minute film, with no dialogues, on the murders in Belfast, filmed in empty places, such as a swimming pool, a factory, offices, and a restaurant. 7. http://www.risd.edu/About/History_Mission_Governance/Mission/ Accessed 23 August 2013. 8. As discussed in Chapter 4. 9. For an analysis of references to and differences with Pasolini in , see Nicole Brenez (2007) ‘Occurrence du corps classique chez Gus Van Sant. Les anti-corps’ Hors Champ. http://www. horschamp.qc.ca/article.php3?id_article=248. Accessed 20 March 2011. Notes 225

8 Lives on Film: Gus Van Sant’s Milk

1. The director of Salaam Bombay, 1988, a feature film about street children in Mumbai. 2. I mentioned Adam Smith in Chapter 2, when discussing sympathy. 3. See the famous text by André Bazin (1972) Orson Welles (Paris: Éditions du Cerf). English tans. Orson Welles. A Critical View (Venice, CA: Acrobat Books), pp. 64–83. 4. Works Progress Administration (WPA) was a work program for the unem- ployed that was created in 1935 under President Franklin D. Roosevelt’s New Deal. 5. Bryan Burrough (2004) Public Enemies: America’s Greatest Crime Wave and the Birth of the FBI, 1933–34 (New York: The Penguin Press). 6. André Bazin (2002) ‘Peinture et cinéma’, Qu’est-ce que le cinéma? (Paris: Éd. du Cerf), p. 189. 7. For example Girl with a Pearl Earring (2003) by Peter Webber, is a screen adap- tation of the novel of the same name by Tracy Chevalier about the mystery of Vermeer’s celebrated painting; or the obscure story of ’s life, Nightwatching (2007) by . 8. Gerry is discussed in Chapter 6. 9. Charles Baudelaire (1975) Selected Poems cit., p. 81. 10. http://www.evanizer.com/articles/blue/index.html. Accessed 10 August 2013.

9 David Lynch: Painting in Film

1. Martin Scorsese (2000) ‘Introduction to Modern Library: ’ in Vachel Lindsay ed. The Art of Moving Picture (New York: Modern Library), p. VI. 2. ‘The first thought, the sketch, which is in some ways the egg, the embryo of the idea is usually far away from being complete. It contains the whole but this has to be brought out ...’ [Eugène Delacroix (1980) Journal (Paris: Plon), p. 414 (23 April 1854).] 3. Laurent Tirard (2002) Moviemakers’ Master Class: Private Lessons from the World’s Foremost Directors (New York and London: Faber and Faber), p. 126. First published in January 1997 Studio, 118. Hereafter MMC. See also: ‘The idea is the whole thing. If you stay true to the idea, it tells you everything you know, really. You just keep working to make it look like the idea looked, feel like it felt, sound like it sounded, and be the way it was.’ [David Lynch (2006) : Meditation, Consciousness, and Creativity (New York: Jeremy P. Tharcher/Penguin), p. 83.] 4. David Lynch (2005, first ed. 1997) ed. Chris Rodley (New York: Faber and Faber), p. 21. Hereafter L L. 5. See Mike Hartmann, Quotations, http://www.thecityofabsurdity.com. Accessed 12 January 2012. 6. One can think of what Dan says to his therapist in the Winkie’s at Sunset Boulevard when he tells him the dream he had twice: ‘Well ...it’s the second one I’ve had, but they were both the same ...they start out that I’m in here but it’s not day or night. It’s kind a half night.’ 226 Notes

7. Todd McGowan (2007) The Impossible David Lynch (New York: Columbia University Press), p. 206. Hereafter McGowan. 8. Lynch’s idea about Bacon’s fragments of narration confirms what the painter himself said about his passion for film [see David Sylvester (2008) Interviews with Francis Bacon: The Brutality of Fact (London: Hudson and Thames)]. Bacon was impressed by Lang and Eisenstein and also by Marcel Carné and René Clair. More than in a whole film he was interested in specific stills that he remembered having seen in magazine reproductions or that he himself collected. See David Allan Mellor (2008 and 2009) ‘Film, Fantasy, History in Francis Bacon’ in Matthew Gay and Chris Stephens eds. Francis Bacon (London: Tate Publishing; New York: The Metropolitan Museum of Art), pp. 50–81. 9. See Gotthold Ephraim Lessing (1853) Laocoon. An Essay on the Limits of Painting and Poetry trans. E. C. Beasley (London: Longman, Brown, Green, and Longmans); Sergei Eisenstein (2010) ‘Laocoon’ in Michael Glenny and Richard Taylor eds. Selected Works 2 Towards a Theory of Montage, trans. Michael Glenny (London: I.B. Tauris), pp. 109–200. 10. Lynch says that he does not know exactly what irony is, but loves the absurd. See ‘Absurd’, Quotations, http://www.thecityofabsurdity.com cit. 11. ‘I started working in DV for my website, and I fell in love with the medium. It’s unbelievable, the freedom and the incredible different possibil- ities it affords, in shooting and in post-production.’ [Lynch quoted by Adam Dawtray, in ‘Digital Pic Details Mystery’, Variety, cit. http://variety.com/ 2005/film/news/lynch-invades-an-empire-1117922566/ Accessed 20 January 2013]. 12. See Manhola Dargis (6 December 2006) ‘The Trippy Dream Factory of David Lynch’, , http://movies.nytimes.com/2006/12/06/ movies/06empi.html?pagewanted=all&_r=0. Accessed 30 January 2013. 13. On purpose I avoid discussing David Lynch’s practice of Transcendental Meditation and focus on aesthetic effects. 14. Piranesi is famous for his Roman Prisons’ dark and dramatic prints (1745); and Sironi for his 20th-century industrial landscapes. 15. Catching the Big Fish: Meditation, Consciousness, and Creativity cit., p. 13. Lynch’s emphasis. This film received the second prize of the Art School in , the Dr. W. S. Biddle Cadwalder Memorial Prize, PAFA. 16. This 16-minute film by Warhol and Paul Morrissey was shot at Chelsea Hotel in New York; it follows the life of several women living in this hotel. Filmography

Martin Scorsese

Who’s That Knocking at My Door, 1967 , 1968 Mean Streets, 1973 Alice Doesn’t Live Here Anymore, 1974 , 1976 New York, New York, 1977 Goodfellas, 1990 The Age of Innocence, 1993 Casino, 1995 A Personal Journey with Martin Scorsese through American Movies, 1995 , 1997 , 1999 Gangs of New York, 2002 , 2006 Shutter Island, 2010 HBO drama series Boardwalk Empire, 2010 Hugo, 2011 The Wolf of Wall Street, 2013

Jim Jarmusch

Permanent Vacation, 1980 , 1984 Down by Law, 1986 Mystery Train, 1989 Dead Man, 1995 The , 1997 The Limits of Control, 2009

Gus Van Sant

Mala Noche, 1986 My Own Private Idaho, 1991 , 1995 Good Will Hunting, 1998 , 1998 Gerry, 2002 Elephant, 2003 Last Days, 2005 Milk, 2008

227 228 Filmography

David Lynch

Eraserhead, 1977 The Elephant Man, 1980 , 1986 Wild at Heart, 1990 , 1990 Lost Highway, 1997 Mulholland Drive, 2001 , 2006

Other Films

2001: A Space Odyssey, 1968, directed by A Clockwork Orange, 1971, directed by Stanley Kubrick A Streetcar Named Desire, 1951, directed by Alexander Nevsky, 1938, directed by Sergei Eisenstein Amelia, 2008, directed by Mira Nair Andrei Rublev, 1966, Andrei Tarkovski Apocalypse Now, 1979, directed by Argo, 2012, directed by Ben Affleck Barry Lindon, 1975, directed by Stanley Kubrick , 1925, directed by Sergei Eisenstein Black Sunday, 1962, directed by Mario Bava Blow-Up, 1966, directed by Bullitt, 1968, directed by Peter Yates Caius Julius Caesar, 1914, directed by Enrico Guazzoni Caravaggio, 1986, directed by Derek Jarman Ceux de chez nous/Those of Our Land, 1914/15, directed by Sacha Guitry Chelsea Girls, 1966, directed by Andy Warhole and Paul Morrissey Chicago, 2002, directed by Rob Marshall Chinatown, 1974, directed by Citizen Kane, 1941, directed by Orson Welles City on Fire, 1987, directed by Ringo Lam Death’s Marathon, 1913, directed by D. W. Griffith Django Unchained, 2012, directed by Quentin Tarantino Duel in the Sun, 1946, , 1969, directed by Elephant, 1989, directed by F for Fake, 1973, directed by Orson Welles Fabiola, 1918, directed by Enrico Guazzoni Farenheit 451, 1966, directed by François Truffaut Fury, 1936, directed by Girl with a Pearl Earring, 2003, directed by Peter Webber Giulietta degli spiriti/Juliet of the Spirits, 1965, directed by Gone with the Wind, 1939, directed by Victor Fleming Filmography 229

Gran Torino, 2009, directed by , 1959, directed by Il Caïmano/The Cayman, 2005, directed by Inception, 2010, directed by Infamous, 2006, directed by Douglas McGrath Infernal Affairs, 2002, directed by Andrew Lau and Alan Mak Inglourious Basterds, 2009, directed by Quentin Tarantino Intolerance, 1916, directed by D. W. Griffith I Vitelloni, 1953, directed by Federico Fellini J. Edgar, 2012, directed by Clint Eastwood L’Anglaise et le duc/The Lady and the Duke 2001, directed by Éric Rohmer L’Année Dernière à Marienbad/, 1961, directed by Alain Resnais L’Argent/Money, 1983, directed by Robert Bresson L’Arrivée d’un train en gare de La Ciotat/Arrival of a Train at La Ciotat, 1896, directed by Auguste and Louis Lumière La prise de pouvoir par Louis XIV/The Rise of Louis XIV, 1966, directed by Le Journal d’un curé de campagne/Diary of a Country Priest, 1951, directed by Robert Bresson Le mani sulla città/Hands over the City, 1963, Le Mépris/Contempt, 1963, directed by Jean-Luc Godard Les 400 Coups/, 1959, directed by François Truffaut Lincoln, 2012, directed by Manhattan Melodrama, 1934, directed by W. S. Van Dyke Metropolis, 1927, directed by Fritz Lang Monsieur Hulot’s Holiday, 1953, directed by Nightwatching, 2007, directed by Peter Greenaway No Country for Old Men, 2007, directed by Joel and Ethan Coen Obsession, 1974, directed by Brian De Palma On the Waterfront, 1954, directed by Elia Kazan Paisá, 1946, directed by Roberto Rossellini Park Row, 1952, directed by Sam Fuller Peeping Tom, 1960, directed by Michael Powell Persona, 1966, directed by Pickpocket, 1959, directed by Robert Bresson Pierrot le Fou, 1965, directed by Jean-Luc Godard Prima della rivoluzione, 1964, directed by Public Enemies, 2009, directed by , 1994, directed by Quentin Tarantino , 1950, directed by , 1954, directed by Rebecca, 1940, directed by Alfred Hitchcock Rebel without a Cause, 1955, directed by Red River, 1948, directed by and Arthur Rosson 230 Filmography

Reservoir Dogs, 1992, directed by Quentin Tarantino Salaam Bombay, 1988, directed by Mira Nair Scarface, 1932, directed by Howard Hawks Shoah, 1985, directed by Claude Lanzmann Shock Corridor, 1963, directed by Sam Fuller Sisters, 1973, directed by Brian De Palma Stromboli, 1949, directed by Roberto Rossellini Sunset Boulevard, 1950, directed by The Bad and the Beautiful, 1953, directed by Vincente Minnelli The Big , 1953, directed by Fritz Lang The Birth of a Nation, 1915, directed by D. W. Griffith The Exorcist, 1973, directed by William Friedkin The Ghost Writer, 2010, directed by Roman Polanski The Iron Lady, 2011, directed by Phyllida Lloyd The Island of the Dead, 1945, directed by Mark Robson The Killing, 1956, directed by Stanley Kubrick The Lady, 2011, directed by The Lady from Shanghai, 1947, directed by Orson Welles The Last Emperor, 1987, directed by Bernardo Bertolucci The Magic Box, 1951, directed by John Boulting The Magnificent Ambersons, 1942, directed by Orson Welles The Red Shoes, 1948, directed by Michael Powell and Emeric Pressburger The Savage Innocents, 1960, Nicholas Ray The Searchers, 1956, directed by John Ford The Shining, 1980, directed by Stanley Kubrick The Sopranos, 1999–2007, created by David Chase The Spider’s Stratagem, 1970, directed by Bernardo Bertolucci The Stendhal Syndrome, 1996, directed by Dario Argento The Tales of Hoffmann, 1951, directed by Michael Powell and Emeric Pressburger The Ten Commandments, 1923, directed by Cecil B. DeMille The Tomb of Ligeia, 1964, directed by The Thief of Bagdad, 1940, directed by Michael Powell, Ludwig Berger, Tim Whelan and Alexander Korda. The Times of , 1984, directed by Rob Epstein The Untouchables, 1987, directed by Brian De Palma Theorem, 1968, directed by Titanic, 1997, directed by James Cameron Tirez sur le pianist/Shoot the Pianist, 1960, directed by François Truffaut Touch of Evil, 1958, directed by Orson Welles Trash, 1970, directed by Paul Morrissey Un Condamné à mort s’est échappé/, 1955, directed by Robert Bresson Van Gogh, 1947, directed by Alain Resnais Van Gogh, 1991, directed by Maurice Pialat Vertigo, 1958, directed by Alfred Hitchcock Young Mr. Lincoln, 1939, directed by John Ford Bibliography

General Bibliography

Aristotle (1933, 1989) Aristotle in Twenty-Three Volumes, trans. Hugh Tredennick (Cambridge, MA: Harvard University Press; London, William Heinemann Ltd.). Arnheim, Rudolf (1967) Film as Art (Berkeley: University of California Press). Austin, J. L. (1969, 1976) How to Do Things with Words (Oxford: Oxford University Press). Barthes, Roland (1977) Image Music Text. Essays selected and trans. Steven Heath (Hammersmith, London: Fontana Press). —— (2002) Œuvres complètes ed. Éric Marty (Paris: Seuil). Baudelaire, Charles (1965) Art in Paris 1845–1862 trans. and ed. Jonathan Mayne (Ithaca NY: Cornell University Press). —— (1965) The Painter of Modern Life and Other Essays trans. and ed. Jonathan Mayne (London: Phaidon Press). —— (1970, 1974) Paris Spleen II (New York: New Directions Books). —— (1975) Œuvres Complètes 1 (Paris: Gallimard, ‘Bibliothèque de la Pléiade’). —— (1975) Flowers of Evil trans. and intr. Johanna Richardson (London: Penguin Books). Bazin, André (1967) What Is Cinema? ed. and intr. Hugh Gray (Berkeley and Los Angeles: University of California Press). Beckett, Samuel (1953) The Unnamable (London: Grove Press). Bordwell David (1985) Narration in the Fiction Film (Madison: University of Wisconsin Press). —— (1989) Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Cambridge: Harvard University Press). Bordwell, David and Kristin Thompson (1994, 2010) Film History: An Introduction (New York: McGraw-Hill). —— (1997) On the History of Film Style (Cambridge: Harvard University Press). —— (2005) Figures Traced in Light: On Cinematic Staging (Berkeley: University of California Press). —— (2006) The Way Hollywood Tells It: Story and Style in Modern Movies (Berkeley: University of California Press). —— (2008) Poetics of Cinema (Berkeley: Routledge). Bordwell, David, Janet Staiger and Kristin Thompson (1985) The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press). Bordwell, David and Kristin Thompson (2011) Minding Movies: Observations on the Art, Craft, and Business of Filmmaking (Chicago: University of Chicago Press). Bresson, Robert (1975) Notes on Cinematography trans. Jonathan Griffin (New York: Urizen). —— (1993) Notes sur le cinématographe (Paris: Gallimard).

231 232 Bibliography

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Individual Bibliographies

Scorsese Scorsese, Martin (1989, 1986) Scorsese on Scorsese ed. David Thompson and Ian Christie (London: Faber and Faber). —— (1998) Mes plaisirs de cinéphile (Paris: Cahiers du cinéma). —— (1999) Interviews ed. Peter Brunette (Jackson: University Press of Mississippi). —— (2003) Gangs of New York: Making the Movie (New York: Miramax Books). —— (2011) Conversations with Scorsese ed. Richard Schickel (New York: Alfred A. Knopf). Blake, Richard Aloysius (2005) Street Smart: The New York of Lumet, Allen, Scorsese, and Lee (Lexington: University Press of Kentucky). Bliss, Michael (1985) Martin Scorsese and (Metuchen, NJ: Scarecrow Press). —— (1998) The Word Made Flesh: Catholicism and Conflict in the Films of Martin Scorsese (Lanham, MD: Scarecrow Press). Casillo, Robert (2006) Gangster Priest: The Italian American Cinema of Martin Scorsese (Toronto; Buffalo: University of Toronto Press). Cashmore, Ernest (2009) Martin Scorsese’s America (Cambridge, UK; Malden, MA: Polity). Cieutat, Michel (1986) Martin Scorsese (Paris: Rivages). Conrad, Mark T. ed. (2007) The Philosophy of Martin Scorsese (Lexington: Univer- sity Press of Kentucky). Domecq, Jean-Philippe (1986) Martin Scorsese: un rêve italo-américain (Renens: Cinq Continents; Paris: Hatier). Ebert, Roger (2008) Scorsese (Chicago: University of Chicago Press). Friedman, Lawrence S. (1997) The Cinema of Martin Scorsese (New York, NY: Continuum). Grist, Leighton (2000) The Films of Martin Scorsese, 1963–1977: Authorship and Context (Houndmills, Basinstoke: Palgrave Macmillan). —— (2013) The Films of Martin Scorsese, 1978–1999: Authorship and Context II (Houndmills, Basingstoke, Hampshire; New York, NY: Palgrave Macmillan). Keyser, Lester J. (1992) Martin Scorsese (New York: Twayne; Toronto: Maxwell Macmillan). Bibliography 235

Lourdeaux, Lee (1990) Italian and Irish Filmmakers in America: Ford, Capra, Coppola, and Scorsese (Philadelphia: Temple University Press). Miliora, Maria T. (2004) The Scorsese Psyche on Screen: Roots of Themes and Characters in the Films (Jefferson, NC: McFarland & Co). Nyce, Ben (2004) Scorsese Up Close: A Study of the Films (Lanham, MD: Scarecrow Press). Stern, Lesley (1995) The Scorsese Connection (Bloomington: Indiana University Press; London: BFI Publishing).

Jarmusch Andrew, Geoff (1999) Stranger than Paradise: Maverick Film-makers in Recent American Cinema (New York: Limelight Editions). Jim Jarmusch (2001) ed. Ludvig Hertzberg (Jackson: University Press of Mississippi). Levy, Emanuel, (1999) Cinema of Outsiders: The Rise of American (New York: Press). Mosca, Umberto (2000) Jim Jarmusch (Milano: Editrice Il castoro). Renda, Chiara (2008) Jim Jarmusch: Il Fascino della malinconia (Recco, Genova: Le Mani). Rice, Julian (2012) The Jarmusch Way: Spirituality and Imagination in Dead man, Ghost Dog, and The Limits of Control (Lanham, MD: Scarecrow Press). Richardson, Michael (2010) Otherness in Hollywood Cinema (New York: Continuum). Rosenbaum, Jonathan (2000) Dead Man (London: British Film Institute) 2000. Suárez, Juan Antonio (2007) Jim Jarmusch (Urbana: University of Illinois Press).

Van Sant Grespi, Barbara ed. (2011) Gus Van Sant (Venice: Marsilio). LoBrutto, Vincent (2010) Gus Van Sant: His Own Private Cinema (Santa Barbara, CA: Praeger). Morsiani, Alberto (2004) Gus Van Sant (Milano: Editrice Il castoro).

Lynch Basso Fossali, Pierluigi (2006) Interpretazione tra mondi: il pensiero figurale di David Lynch (Pisa: ETA). Devlin, William and Shai Biderman (2011) The Philosophy of David Lynch (Lexington, KY: University Press of Kentucky). Foubert, Jean (2009) L’Art audio-visuel de David Lynch (Paris: L’Harmattan). Lynch, David (1994) Images (New York: Hyperion). —— (2006) Catching the Big Fish: Meditation, Consciousness, and Creativity (New York: Jeremy P. Tharcher /Penguin). —— (2007) The Air is on Fire (Paris: Fondation Cartier pour l’art contemporain; New York, NY: Distributed by Thames & Hudson). Todd, Antony (2012) Authorship and the Films of David Lynch: Aesthetic Receptions in Contemporary Hollywood (London; New York: I. B. Tauris). Index

abstraction, 33, 75, 108, 204 American Notes for General Academy Award, 83 Circulation, 23 Academy of the Fine Arts, The Americans, 135 158, 183 anachronism, 150, 175 adaptation Andrew, Geoff, 128 importance of, 103 Antonioni, Michelangelo, 87, of novels, 101, 157 98, 220 theoretician of, 159 Appia, Adolphe, 30 translation or transaction, 100 archive material, 171, 174, 176, 177 understanding of, 101 Argento, Asia, 34 Addison, Joseph, 3, 26 Argento, Dario, 34 aesthetics, 8, 25, 26, 81, 100, 121–2, Argo, 20–1, 214 147, 158–9, 165, 166, 182 Aristotle, 2–3, 25–6, 61, 66, 149, 152, aesthetic analysis, 25 215, 217 aesthetic approach, 6 Aristotelian drama, 123 aesthetic dimension, 97 Aristotelian principle of action, 144 aesthetic dynamics, 10 Arnheim, Rudolf, 102, 107, 219 aesthetic emotions, 10 Arquette, Patricia, 187 aesthetic experience, 3, 117 Artaud, Antonin, 206 aesthetic investigation, 10 Asbury, Herbert J., 15, 47, 73, 112 aesthetic model, 9 astonishment, 33, 41, 44, 60, 61, aesthetic movements, 82 66–7, 76 aesthetic object, 16 Aumont, Jacques, 83, 219 aesthetics of disappearance, 46 Aung San SuuKyi, 169 aesthetics of memory, 9 Austin, John Langshaw, 94, 99, 100, aesthetic sphere, 3, 6, 29 103, 110–11, 117, 219 aesthetic theory, 23, 183 auteurism, 17, 80, 90 aesthetic value, 83, 131 avant-garde art, 80, 122 aesthetic vision, 6, 56 Affleck, Ben, 20, 214 Affleck, Casey, 143, 146, 148 Bacon, Francis, 91, 184, 187, 192, 193, Agee, James, 130, 131 194, 195, 197, 200, 201, 202, 203, The Age of Innocence, 24, 36, 47, 62, 207, 226 69, 175 Badalamenti, Angelo, 90, 192, 210 Alexander Nevsky, 43–4, 75 The Bad and the Beautiful, 16 Allen, Woody, 68 Bakhtin, Mikhail, 9 allusion, 9–10, 38, 51, 56, 65, 71, 73, Balzac, Honoré de, 21, 29, 42, 48, 61, 91, 92, 125, 134, 178, 199 75, 114, 136 Althusser, Louis, 2 Bannion, Dave, 52, 63, 89, 90 amazement, 66, 174, 205 Bardem, Javier, 179 ambivalence, 39, 63, 170 Barry Lyndon, 40, 45 American cinema, 17, 143 Barthes, Roland, 17, 67, 85, 98, 212

236 Index 237

Baudelaire, Charles, 2, 4, 5, 6, 7, 8, 9, Cage, Nicholas, 185 10, 11, 12, 15, 18, 25, 42–5, Calvino, Italo, 91 49–50, 59, 64–6, 68, 77, 87, 92, Camera lucida, 67 93, 121, 127, 136, 137, 146, 165, camera movement, 72–4, 91, 114, 169, 179, 182, 183, 190, 192, 200, 127, 178, 206 212, 213, 216, 217, 218, 219, 225 camera techniques, 168 Baumgarten, Alexander Gottlieb, 26 deep focus, 74–9 Bava, Mario, 69, 70, 218 distancing, 67 Bazin, André, 30, 82, 83, 87, 94, 95, panning, 67 96, 97, 98, 99, 100–3, 117, 174, point-of-view shot zooming, 205 175, 168, 215, 218, 219, 220, 225 tracking shot, 35, 52, 74, 86–7, 93, Beckett, Samuel, 143, 144, 146, 148, 132, 153, 193 152, 153, 223 up-and-down, 114 Beckmann, Max, 200 zooming, 41, 56, 67, 77 Bel Geddes, Barbara, 196 Cameron, James, 74, 217 Benigni, Roberto, 123, 124 Capote, Truman, 169 Benjamin, Walter, 2, 21, 98, 214, Carlos, Wendy, 155 217, 219 Carroll, Noël, 9, 24, 28, 97, 213, 214, Bergman, Ingmar, 91, 199, 200 215, 220 Bergman, Ingrid, 58 Cavell, Stanley, 5, 6, 212 Bernanos, Georges, 103, 159 Chateaubriand, François-René de, 144 Bertolucci, Bernardo, 19, 53, 62, 217 Cimino, Michael, 37 Besse, Jacques, 174 cinephile, 43, 46, 53, 57, 73, 85, 88, Besson, Luc, 169 91, 93, 128, 130, 133–4, 151, 163, The Big Heat, 39, 52, 63, 88–90 179, 194 The Big Shave, 37–8, 62 , 9, 68, 71 biopics, 12, 169, 170, 171, 173, 175, Citizen Kane, 53, 72, 83, 93, 101–2, 176, 180 171, 176 The Birth of a Nation, 36 Clarke, Alan, 156, 167 Black Sunday, 69 Cobain, Kurt, 158 Blake, William, 1, 125, 126, 127, 128, Cocks, Jay, 15 133, 182 cognitive-emotional participation, 31 Blanchot, Maurice, 17, 146, 213, 223 cognitivist approaches, 1, 24–5 Böcklin, Arnold, 76 Coleridge, Samuel Taylor, 4 Boileau, Nicolas, 81 Collingwood, Robin George, 35, Bordwell, David, 10, 11, 17, 18, 19, 82, 42, 216 86, 213, 214, 219, 223 Contempt, 16, 52, 71, 159 Bourdieu, Pierre, 84, 218 Coppola, Francis, 16, 37, 83 Bowie, David, 192 Corbucci, Sergio, 91 Bracco, Lorraine, 86 Corman, Roger, 52 Brando, Marlon, 125, 163 Currie, Gregory, 24, 30, 32, 81, 96, Brémond, Claude, 150, 224 213, 215, 216, 218, 220 Bresson, Robert, 12, 51, 97–106, 159, 219, 221 Dalcroze, Emile Jacques, 30 Brolin, Josh, 178, 179 Damon, Matt, 143, 146, 148 Burke, Edmund, 26, 33 Daniels, Teddy, 63–4, 67, 69 Burroughs, William, 130 Dante, 47, 61, 65–6, 128 Buscemi, Steve, 36 Davidson, Donald, 35, 216 Buzzati, Dino, 143, 148 Day-Lewis, Daniel, 22, 42 238 Index

Deadwood, 91 parallel editing, 20 Dean, James, 163 vertical editing, 43 Death Marathon, 35 Eisenstein, Serguei, 5, 6, 41, 43, 44, 45, deconstructionist approaches, 80, 75, 91, 93, 94, 190, 212, 216 96, 99 Eliot, Thomas Stearns, 75 Defoe, Daniel, 33 Elkind, Rachel, 155 Degas, Edgar, 174 emotion Delacroix, Eugène, 6, 7, 8, 25, 65, 66, appraisal, 101 183, 192, 195 cognitive, 10 Delerue, Georges, 71 evaluation of, 101 Deleuze, Gilles, 82, 108, functionalist understanding, 101 195, 221 make-believe emotions, 24 De Lillo, Don, 144 pretence emotions, 28, 67 Del Rio, Rebekah, 193 empathy and simulation, 29, 32, DeMille, Cecil B., 22, 41, 42, 43 34, 36 Dench, Judy, 171 fellow-feeling, 36–7 De Niro, Robert, 10, 19, 41, 42, 62, 72, Eno, Brian, 71 73, 77 Epstein, Rob, 176 Deonna, Julien, 215 Evans, Walker, 130, 131, 132, de Palma, Brian, 41, 72, 88, 93 134, 135 The Departed, 62, 76–8, 83, 87 experimental cinema, 122 Depp, Johnny, 126, 173 , 82, 89, 200, 209 Dern, Laura, 90, 198 Derrida, Jacques, 2, 94, 219 Fabiola, 40 De Sica, Vittorio, 95, 218 facial expressions, 91 de Sousa, Ronald, 9, 81, 96, 213 The Fall of Icarus, 34 de Toth, André, 18 Faulkner, William, 101 Diary of a Country Priest, 101, Fellini, Federico, 10, 184, 207 103, 159 Ferretti, Dante, 47, 61 Diaz, Cameron, 22 fiction, 8, 17, 25–6, 28–9, 31, 34, 47–8, DiCaprio, Leonardo, 34, 62, 63, 67, 63, 67, 69, 83, 87–8, 91, 112–14, 77, 92, 171 158–61, 170–7, 193, 203 Dickens, Charles, 23 film criticism, 1, 83, 90 Diderot, Denis, 5, 6, 26, 212 Fisk, Robert, 20, 21, 214 Django Unchained, 91–3 flashbacks, 123, 160, 171–2, 178, Donizetti, Gaetano, 31 188–9, 195 Dos Passos, John, 101, 172 Flaubert, Gustave, 31, 32, 76, 149, Dostoevsky, Fiodor, 73 150, 151, 152, 153, 154, 216, Drugstore Cowboy, 157 218, 224 Duel in the Sun, 57–8 Fonda, Peter, 151 Dylan, , 127 Fontaine, Jean, 104, 105, 106 Ford, Glenn, 52, 63, 89 Eastwood, Clint, 12, 124, 169, 170, Ford, John, 170 171, 172, 177 Foster, Jodie, 62 editing Foucault, Michel, 2, 17 cross-editing, 20, 35, 52, 56 Foxx, Jamie, 92 of image and soundtrack, 161 Frank, Robert, 134, 135, 222 music editing, 43–6, 70–1, 112, 127, Frege, Gottlob, 149 152–3, 161–2 Freidlander, Lee, 134 Index 239

Freudian-Lacanian psychoanalysis, 96 Hill, Henry, 20 Friedman, Lawrence S., 84, 219 Hillis Miller, Joseph, 94, 219 Frijda, Nico, 101, 220 Hirsch, Emile, 178 Fuller, Samuel, 74, 130 Hitchcock, Alfred, 11, 61, 69, 70, 72, 75, 78, 92, 182, 184, 188, 189, Gable, Clarke, 173 200, 205 Gabriel, Peter, 44–5 Hobbes, Thomas, 21 Gangs of New York, 10, 15–16, 20–3, Hockney, David, 207 36–41, 43, 47–9, 52–5, 57, 59, Hoffmann, Ernst Theodor Amadeus, 61–2, 68, 73, 78, 93, 98–9, 4, 65 107–17, 175 Holden, Stephen, 142 Gautier, Théophile, 182 homosexuality, 157, 163, 165, 171, German expressionism, 82, 197 175, 176, 178 Gerry, 11, 141–54, 160, 164, 166, 175, Hong Kong crime movie, 62 177–9 Hoover, J. Edgar, 169, 170, Ghost Dog, 11, 122–37 171, 173 Ginsberg, Allen, 127 Hopper, Dennis, 135, 151 Giorgione, 28 Hopper, Edward, 184, 208 Gleeson, Brendan, 49 horror film, 24, 75, 191 Godard, Jean-Luc, 16, 52, 71–2, 91, 98, Hugo,68 128, 159, 166, 200 Hugo, Victor, 21, 40, 182 Goethe, Johann Wolfgang, 28 Huizinga, Johan, 48, 217 Goldie, Peter, 214, 215 Hume, David, 3, 27, 29, 30, 110, Goodfellas, 19–20, 59, 62, 68, 71, 83, 215, 221 86, 88, 93 Hurt, John, 197 Goodis, David, 159 Hutcheson, Francis, 26 Good Will Hunting, 158 gore films, 70, 82, 191 imaginary sympathy, 26–7, 35, 39, 42 Griffith, David Lewelyn, 36 imagination, 2, 3, 4, 5, 6, 7, 8, 9, 10, Grillet, Alain Robbe, 147 11, 12, 15, 16, 17, 23, 26, 27, 32, Grimaldi, Alberto, 15 33, 35, 37, 42, 46, 50–1, 56, 59, Guazzoni, Enrico, 37, 40 65, 66, 71, 73, 74, 77, 81, 87, 90, Guevara, Ernesto Che, 170 91, 93, 98, 121, 128, 135, 142, Guitry, Sacha, 174 165, 168, 172, 173, 175, 177, 183, Guys, Constantin, 7–8, 25, 59 184, 191, 192, 197, 199, 200, 203, 211 hallucination, 69, 74, 148 of artists, 98 Harring, Laura, 186, 204 associative power of the, 8 Harris, Robert, 64 of poet, 121 Hawkins, Jay, 127 poetic imagination, 66 Hawks, Howard, 129, 173 power of, 27–8 Hawthorne, Nathaniel, 206 impurity of cinema, 100–3 Hayworth, Rita, 205 Inglourious Basterds, 92 Hazlitt, William, 26, 27, 28, 35, INLAND EMPIRE, 16, 188, 197, 42, 215 199–201, 203–4, 207 Herrmann, Bernard, 46, 72, The Inquirer, 53 76, 90 Intolerance, 35, 40 Hertzberg, Ludwig, 123, 124, 125, 128, The Invention of Hugo Cabret, 68 132, 136, 222 Irons, Jeremy, 198 240 Index

The Island of the Dead, 74, 76 Lessing, Gotthold Ephraim, 195, 226 , 82, 87, 97, 176 Les Voix du silence, 18 I Vitelloni, 10, 50 Ligeti, György, 37 Lincoln, Abraham, 22, 111 Jackson, Samuel L., 92 Liotta, Ray, 19 Jameson, Fredric, 98, 131, 220, 222 Lipps, Theodor, 30 Jarman, Derek, 174, 175, 180 Lloyd, Phyllida, 170 Jarmusch, Jim, 2, 11, 12, 88, 93, 121, Loos, Adolf, 89 122, 123, 124, 125, 126, 127, 128, Lost Highway, 184, 187–8, 190–2, 129, 130, 131, 132, 133, 134, 135, 198, 205 136, 158, 204, 222 Loy, Myrna, 173 jazz music, 45, 46, 56, 88, 127, 137, Lumière brothers, 67 172, 207 Lupino, Ida, 17 Johnson, Lonnie, 71 Lurie, John, 122, 123 Joyce, James, 101 Lynch, David, 2, 11, 16, 52, 75, 82, 88, 90, 141–54, 155–68, 169–81, Kafka, Franz, 143 182–211, 225 Kant, Emmanuel, 1, 3 Lyons, John, 3, 212 Kazan, Elia, 125, 163 Lyotard, Jean-François, 2, 144, 223 Keitel, Harvey, 10, 50, 52 Kerouac, Jack, 135 MacLachlan, Kyle, 190 Kidman, Nicole, 157 Madame Bovary, 31–2, 150–1 The King of Comedy, 73 mafia, 19–20, 62, 83, 89, 122, 124, Kokoshka, Oskar, 208 129, 196 Korda, Alexander, 65 Magherini, Graziella, 34, 216 Kubrick, Stanley, 16, 37, 39, 40, 45, 70, 75, 82, 88, 92, 155, 156, 161, The Magnificent Ambersons, 83 191, 194, 216 Mak, Alan, 62 Kundun, 47, 62 , 157, 165, 175 Kurosawa, Akira, 133, 134 Mallarmé, Stéphane, 17, 18, 103, Kurtis, Walt, 157 144, 213 Malraux, André, 18, 213 Lacan, Jacques, 2, 80 A Man Escaped, 98–9, 104–6, 115, The Lady and the Duke, 41 117, 134 Lalanne, Jean-Marc, 147, 224 Manet, Edouard, 137 Lamarque, Peter, 96 Mankiewicz, Herman J., 171 Lane, Anthony, 62, 68, 217 Mann, Michael, 173 Lang, Fritz, 39, 41, 63, 88, 89, 226 Marshall, Rob, 122 Lange, Dorothea, 130 Marvin, Lee, 129 Langlois, Henry, 82 Maynard, Joyce, 157 Lanzmann, Claude, 64 McGowan, Todd, 186, 193, 200, 226 , 73 McGrath, Douglas, 169 Lau, Andrew, 62 McQueen, Steve, 81 Lautréamont, 128 Mean Streets, 10, 38, 52, 62–3 Le Corbusier, 30 melancholy, 69, 122, 154, 157, 180, Lee, Russell, 130 193, 208 Lehane, Dennis, 61, 69, 217 Méliès, Georges, 68 Leigh, Vivian, 163 Melville, Herman, 48, 54, 76, 217 Leone, Sergio, 38 Melville, Jean-Pierre, 134, 207 Index 241 memory,1,2,3,4,5,6,7,8,9,10,11, Mystery Train, 127, 136 12, 15, 17, 23, 28, 29, 37, 43, 46, My Voyage to Italy, 40, 58 50, 56, 57, 62, 63, 64, 65, 66, 67, 69, 71–2, 73, 74, 75, 85, 87, 90, Nair, Mira, 169 92, 93, 100, 101, 102, 112, 116, Near, Laurel, 197 121, 128, 134, 144, 160, 165, 168, Neeson, Liam, 22 173, 174, 175, 176, 180, 194, 198, Nelson, Blake, 156 200, 203, 205, 206, 211 , 83, 86 aesthetics of, 9 New York, New York, 72–3, 76 Baudelaire’s philosophy of, 5 Nicholson, Jack, 87, 155 blending of, 71 Nilsson, Harry, 88 characteristics of, 4 Nolan, Christopher, 34 flexibility, 10 Nouveau Roman, 147 glimpses of, 72 Nouvelle Vague, 9, 17, 68, 72, 80, 84, imagination feeding, 165 90, 92, 98, 128, 159, 176 interplay of, 9, 11 Novack, Kim, 189 long-term, 3 Nussbaum, Martha, 96, 99, 101, 220 memories and, 64–74 short-term, 3 Obsession, 72 theory of, 2 O’Hare, Denis, 176 Mendez, Tony, 20 Omaar, Rageh, 174 metafilmic elements, 9, 11, 34 Othello, 26, 28 metamorphosis, 69, 132–3, 200–1, 204 The Painter of Modern Life,5,6,7,8,15 Metz, Christian, 24, 193 papier-mâché, 37 Michelet, Jules, 35 Paradise Square, aerial vision of, 41 Mies van der Rohe, Ludwig, 143 Paranoid Park, 11, 155–66 Milk, Harvey, 175–81 Parker, Charlie, 124, 127 Miller, J. Hillis, 94, 219 Park Row, 74 Million DollarMovie,93 Pärt, Arvo, 153 Milton, John, 42 Pasolini, Pier Paolo, 165, 225 mind-reading, 30, 32 Peckinpah, Sam, 38 minimalist theory of modern Penderecki, Krzysztof, 67, 71 literature and art, 150 performativity, 94–100, 107, 117 Minnelli, Vincente, 16 performative language, 94, 99, 100 Miramax, 15–16 performative power, 94–9, 104, 107, , 2, 44–6, 55, 83–5, 93, 100, 110, 117 150, 194, 205, 210 performative speech, 100, 110–11, Monsieur Hulot’s Holiday, 184 115, 117 Morain, Jean-Baptiste, 143, 223 theory of, 99 Moravia, Alberto, 159 Permanent Vacation, 127–8 Moreau, Gustave, 84, 219 A Personal Journey through American Moretti, Nanni, 170, 171 Movies, 17–18, 22, 35, 37, 91 Mulholland Drive, 16, 52, 75, 184–99, Pesci, Joe, 19 202–10 photography, 130–7 Müller, Robby, 134 slow-motion photography, 166 Mulligan, Kevin, 216 Pialat, Maurice, 173 Mulvey, Laura, 193 Pickpocket, 51, 98–9, 103–4, 106, 115, My Own Private Idaho, 157 117, 134 242 Index

Pileggi, Nicholas, 20, 83 Rivette, Jacques, 98 Piranesi, Giovanni Battista, 205, 226 Robbe-Grillet, Alain, 147 Plato, 3, 25, 66, 163 Roberts, Rocky, 91 Poe, Edgar Allan, 4, 33, 42, 61, 121, Robertson, Robbie, 71 188, 200, 214, 216 Robinson Crusoe, 33 Poetics, 25 Robson, Mark, 74 Polanski, Roman, 64, 78, 188 Rock Star Superstar, 156 Pope, Alexander, 81 Rodley, Chris, 187, 194, 225 postmodern aesthetics, 17, 91, 122 Rohmer, Eric, 41, 98 postmodern approaches, 24 The Rolling Stones, 87–8 postmodern film, 131 Romanticism, 80, 144, 182 postructuralist approaches, 96 romantic sentimentalism, 32 poststructuralism and Romeo and Juliet, 47 deconstruction, 80 Romney, Jonathan, 65, 217 Powell, Michael, 52, 65, 70, 72, 91 The Ronettes, 52 Presley, Elvis, 136 Rorty, Amélie, 3 Pressburger, Emeric, 65, 70, 72 Rosenbaum, Jonathan, 125, 129, 225 Proust, Marcel, 2, 29, 84, 85, 91, 150, Rosi, Francesco, 171 151, 152, 153, 219, 224 Rossellini, Roberto, 57, 95, 97, Pullman, Bill, 192 116–17, 175 Pynchon, Thomas, 144 Rossi, Aldo, 76, 218 Rota, Nino, 162 Quine, Willard Van Orman, 35, 216 Rousseau, Jean-Jacques, 29 Ruffalo, Mark, 63, 67 Racine, Jean, 93, 101 Russell, Bertrand, 149 Racine and Shakespeare, 28, 177 RZA, 127 racism, 42, 62, 92, 129 racist feelings, 111 Sadoul, George, 82 violence of, 36 Saint, Eva Marie, 125 , 72–3 Sarris, Andrew, 72 Raphael, 28 Sartre, Jean-Paul, 2, 164, 174 Ray, Johnny, 71 Saussure, Ferdinand de, 84 Ray, Nicholas, 128, 163 The Savage Innocents, 128 Ray Cyrus, Bill, 196 Schacter, Daniel, 4, 212 realism, 24, 30, 40, 95–6, 117, 166 Scheler, Max, 36, 37, 216 documentary, 166 Scherer, Klaus, 101, 220 Italian, 82, 87, 97, 176 Schoonmaker, Thelma, 61 notion of, 96 Schrader, Paul, 51, 98 visionary, 75, 78 Scola, Ettore, 171 The Red and the Black, 144 Scorsese, Martin, 2, 10, 11–12, 15–60, The Red Shoes, 65, 70 61–79, 80–93, 94–117, 121–137, Reinach, Adolf, 110–11 166, 175, 182, 213, 216, 217, 218, Reni, Guido, 206 219, 225, 229 Renoir, Jean, 95, 166, 174 Searle, John, 94, 110 , 92–3 Selznick, Brian, 68 Resnais, Alain, 147, 173, 174 sentimentality, 148–9, 160 Rice, Julian, 128, 222 Shakespeare, William, 26, 28, 42, 48, Richter, Max, 71 53, 114, 172 The Rise of Louis XIV, 175 Shelley, Percy Bysshe, 206 Index 243

Shepherd, Cybill, 45 Taxi Driver, 38, 42, 45–6, 51, 61–3, Shilts, Randy, 176 72–3, 76, 83, 86, 88, 90, 98 The Shining, 75, 82, 155, 191 The Temptation of St. Anthony, 76–7 Shock Corridor, 74 The Ten Commandments, 41–2 Shutter Island, 10, 34, 59, 61–79 Thibaudet, Albert, 21, 214 Simmel, George, 87 The Thief of Bagdad, 65 Sironi, Mario, 205, 226 thought experiment, 9, 33, 148, 151 small-budget movies, 17 Tirard, Laurent, 183, 225 Smith, Adam, 27, 33, 35, 170, 215, Titanic, 74 217, 225 To Die For, 157 Sorel, Julien (hero of Stendhal’s novel Tolson, Clyde, 171 The Red and the Black), 47, 144 Tolstoy, Leo, 21 soundtrack, 11, 44, 52, 71, 88, 91, 92, Touch of Evil, 16, 46, 87, 93 114, 124, 126, 151, 157, 158, 161, Treatise of Human Nature, 27, 30 162, 163, 165, 191, 192, 207, 211 Tristram Shandy, 83, 123 special effects, 30, 40–1, 68, 77, 91, Truffaut, François, 39, 61, 68, 72, 78, 107, 210 86, 88, 89, 91, 98, 126, 128, 159, The Spider’s Stratagem, 19 166, 182, 217, 220 Spielberg, Steven, 47, 130 Tsunetomo, Yamamoto, 124 Stamp, Terence, 180 Tulving, Endel, 3, 4, 32, 34, 212 Steele, Richard, 3, 26 Twin Peaks, 190–1 Stendhal, 18–19, 21, 26, 28–9, 33–4, 40, 47, 55, 123, 145, 177, 179, The Untouchables, 41–2, 93, 146 206, 214, 215, 216, 223 The Stendhal Syndrome, 34 Valéry, Paul, 18, 144 Stern, William, 21, 214 Van Dyke, W. S., 173 Sterne, Lawrence, 83, 213 Van Sant, Gus, 2, 11–12, 87–8, storytelling, 19, 83, 122, 142–4, 164 141–54, 155–68, 169–81, Strand, Paul, 132 182–211, 224, 225 Stranger than Paradise, 123, 127, 131–2 Vély, Yannick, 143, 223 Streep, Meryl, 170 Vertigo, 69, 75, 188–9, 195, 200, 206 structuralism, 24, 80, 96 Vidor, King, 57 structuralist approaches, 24, 96 viewer participation, 20–9 Suárez, Juan Antonio, 122, 131, 222 Virilio, Paul, 46, 107, 216, 221 Sunset Boulevard, 16, 184, 186–7, Vischer, Friedrich Theodor, 29 194, 209 Vischer, Robert, 29 Swan, Billy, 162 Visconti, Luchino, 40, 41 sympathy, 29–35 voice-over, 19, 57, 87, 103–4, 109, empathy and simulation, 29–35 116, 129, 141, 162–3, 194 notion of empathy, 30 re-enactment and simulation, 42 Wagner, Richard, 11 synaesthesia, 75, 109 Waits, Tom, 123, 132, 134 Walton, Kendall, 9, 24, 28, 213 Taine, Hippolyte, 35 Waltz, Christoph, 92 The Tales of Hoffmann, 65, 72–3 Warhol, Andy, 122, 158, 194, 195, Tarantino, Quentin, 69, 91, 92, 208, 210, 226 124, 219 , Kerry, 92 Tarr, Bela, 155, 156, 158 Waters, Muddy, 88 Tati, Jacques, 184 Watkins, Carleton, 133 244 Index

Watts, Naomi, 171, 185, 186 Wilde, Oscar, 29, 215 Wayne, John, 49 Wilder, Billy, 95 Welles, Orson, 16, 39, 46, 53, 72, 75, Wild at Heart, 185–6 83, 85, 87, 91, 93, 95, 166, 171–2, Williams, Raymond, 95 182, 213, 219 The Wolf of Wall Street, 218 Western genre, 91–2 Wordsworth, William, 4 Wharton, Edith, 62 Wright, Frank Lloyd, 205 Wheel of Fortune, 146, 152 The Wrong Man, 78 Whitaker, Forest, 124, 135 White, Frances, 163 The Year of the Horse, 127 Whitman, Walt, 133 Young, Neil, 126–7 Who’s That Knocking at My Door, 38, 50 Youngmann, Henny, 86