Movies and Methods Vol. 2

Acknowledgments = ⅸ Introduction Bill Nichols = 1 Part 1: HISTORICAL CRITICISM The Stalin Myth in Soviet Cinema (with an Introduction by Dudley Andrew) = 29 Technique and Ideology: Camera, Perspective, Depth of Field = 40 Technological and Aesthetic Influences on the Development of Deep-Focus Cinematography in the United States = 58 Sound and Color = 83 Notes on Columbia Pictures Corporation 1926-1941 = 92 Writing the History of the American Film Industry: Warner Brothers and Sound = 109 Color and Cinema: Problems in the Writing of History = 121 Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood = 144 Part 2: GENRE CRITICISM Tales of Sound and Fury: Observations on the Family Melodrama = 165 Minnelli and Melodrama = 190 An Introduction to the American Horror Film = 195 Entertainment and Utopia = 220 Beyond Verite: Emile de Antonio and the New Documentary of the Seventies = 233 The Voice of Documentary = 258 Beyond Observational Cinema = 274 The Avant-Garde: History and Theories = 287 Part 3: FEMINIST CRITICISM Visual Pleasure and Narrative Cinema = 303 Towards a Feminist Film Practice: Some Theses = 315 Jeanne Dielman: Death in Installments = 327 In the Name of Feminist Film Criticism = 340 The Right of Re-Vision: Michelle Citron's Daughter Rite = 359 Gentlemen Consume Blondes = 369 The Place of Woman in the Cinema of Raoul Walsh = 379 Part 4: STRUCTURALIST SEMIOTICS Signification in the Cinema 391(16) The Anatomy of a Proletarian Film: Warner's Marked Woman = 407 The Searchers: An American Dilemma = 429 Mildred Pierce Reconsidered = 450 The Spectator-in-the-Text: The Rhetoric of Stagecoach = 458 S/Z and The Rules of the Game = 476 Godard and Counter Cinema: Vent d' Est = 500 Jaws, Ideology, and Film Theory = 509 Part 5: PSYCHOANALYTIC SEMIOTICS Psychoanalysis and Cinema: The Imaginary Discourse = 517 Ideological Effects of the Basic Cinematographic Apparatus = 531 Story/Discourse: Notes on Two Kinds of Voyeurism = 543 A Note on Story/Discourse = 549 On the Naked Thighs of Miss Dietrich = 557 The Voice in the Cinema: The Articulation of Body and Space = 565 The Avant-Garde and Its Imaginary = 576 Masochism and the Perverse Pleasures of the Cinema = 602 Part 6: COUNTERCURRENTS The Neglected Tradition of Phenomenology in Film Theory = 625 Colonialism, Racism, and Representation: An Introduction = 632 Responsibilities of a Gay Film Critic = 649 A Brechtian Cinema? Towards a Politics of Self-Reflexive Film = 661 The Point-of-View Shot = 672 Statistical Style Analysis of Motion Pictures = 691 The Space between Shots = 703 Class and Allegory in Contemporary Mass Culture: Dog Day Afternoon as a Political Film = 715 Further Readings = 735 Index = 745

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