THE CLASSIC CINEMA

PREFACE = vi INTRODUCTION: TOWARD THEORY OF FILM HISTORY = 1 INTOLERANCE―GRIFFITH = 11 Credits = 12 Introduction = 12 The Scope of Intolerance / IRIS BARRY ; EILEEN BOWSER = 15 Griffith at Work / LILLIAN GISH = 19 Technique in Intolerance / LEWIS JACOBS = 24 The Modern Story in Intolerance / PAUL O'DELL = 27 THE CABLNET OF DR. CALIGARI―WIENE, MAYER, JANOWITZ = 39 Credits = 40 Introduction = 40 The Making of Caligari / SIEGFRIED KRACAUER = 43 The Beginnings of the Expressionist Film / LOTTE H. EISNER = 51 Caligari as a Film Classic ARTHUR LENNIG = 56 POTEMKIN―EISENSTEIN = 65 Credits = 66 Introduction = 66 Theory into Practice / JAY LEYDA = 69 Image and Structure in Potemkin / SERGEI EISENSTEIN = 76 Montage in Potemkin / A. R. FULTON = 82 THE GOLD Rush―CHAPLIN = 89 Credits = 90 Introduction = 90 The Frozen Hills / ROBERT PAYNE = 92 Classics Revisited: The Gold Rush / ERNEST CALLENBACH = 97 Premise and Progression in The Gold Rush / JOHN HOWARD LAWSON = 102 Chaplin’s Comedy of Character / GERALD MAST = = 104 THE PASSION of JOAN of ARC―DREYER = 109 Credits = 110 Introduction = 110 Psychological Intensity in The Passion of Joan of Arc / ROGER MANVELL = 112 The World Beyond / TOM MILNE = 115 Carl Dreyer’s World / RICHARD ROWLAND = 122 M―LANG = 129 Credits = 130 Introduction = 130 Murderer Among Us / SIEGFRIED KRACAUER = 133 Encounters with Sound / PAUL JENSEN = 136 Fritz Lang (The German Period, 1919-1935) / ERIC RHODE = 144 RULES OF THE GAME―RENOIR = 149 Credits = 150 Introduction = 150 from Three Masterworks / PIERRE LEPROHON = 153 Between Theater and Life: Jean Renoir and Rules of the Game / JACQUES JOLY = 157 External Appearances in Rules of the Game / R. J. GARLICK = 166 CITIZEN KANE―WELLES = 171 Credits = 172 Introduction = 172 Composition, Imagery, and Music in Citizen Kane / CHARLES HIGHAM = 175 The Dual Cinematic Tradition in Citizen Kane / DAVID BORDWELL = 181 from Raising Kane / PAULINE KAEL = 191 THE BICYCLE THIEF―DE SICA = 199 Credits = 200 Introduction = 200 Father and Son in De Sica’s The Bicycle Thief / BARBARA H. SOLOMON = 203 Neorealism and Pure Cinema: The Bicycle Thief / ANDRÉ BAZIN = 208 Vittorio De Sica’s Vision of Cycles / GIAN-LORENZO DARRETTA = 218 THE SEVENTH SEAL―BERGMAN = 223 Credits = 224 Introduction = 224 Milieu and Texture in The Seventh Seal / PETER COWIE = 227 The Seventh Seal: The Film as Iconography / NORMAN N. HOLLAND = 233 The Role of Jons in The Seventh Seal / JORN DONNER = 238 VERTIGO―HITCHCOCK = 247 Credits = 248 Introduction = 248 Narrative Viewpoint in Vertigo / DAVID THOMSON = 251 Thematic Structure in Vertigo / ROBIN WOOD = 254 Vertigo: The Cure Is Worse Than the Dis-Ease / DONALD M. SPOTO = 266 The Red desert―ANTONIONI = 273 Credits = 274 Introduction = 274 The Achievement of The Red Desert /STANLEY KAUFFMANN = 277 The Red Desert: The Triple Split / RICHARD ROUD = 282 Meaning and Image in The Red Desert / JOHN S. BRAGIN = 288 BELLE DE JOUR―BUÑUEL = 295 Credits = 296 Introduction = 296 Fantasy and Reality in Belle de Jour / RAYMOND DURGNAT = 299 Buñuel’s Golden Bowl / ELLIOT STEIN = 306 The Beauty of Belle de Jour/ ANDREW SARRIS = 311 SATYRICON―FELLINI = 317 Credits = 318 Introduction = 318 Preface to the Screen Treatment of Satyricon / FEDERICO FELLINI = 321 A Film from Fellini’s Mythology / MARSHA KINDER AND BEVERLE HOUSTON = 324 The Distancing Perspective in Satyricon / NEAL OXENHANDLER = 328 Fellini’s Demythologized World / JANET C. DOSSJANET C. DOSS = 332 APPENDIX: filmographies And seIected bibliographies = 339 INDEX = 351

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