For more information, contact the University of Chicago Press, 1427 E. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of brief quotations in critical articles and reviews. Pippin The University of Chicago Press Chicago & London The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2020 by The University of Chicago All rights reserved. Table of contents : Dedication Contents Section I: Cinema as Reflective Form 1 Cinematic Reflection 2 Cinematic Self-Consciousness in Alfred Hitchcock’s Rear Window Section II: Moral Variations 3 Devils & Angels in Pedro Almodóvar’s Talk to Her 4 Confounding Morality in Alfred Hitchcock’s Shadow of a Doubt Section III: Social Pathologies 5 Cinematic Tone in Roman Polanski’s Chinatown: Can “Life” Itself Be “False”? 6 Love & Class in Douglas Sirk’s All That Heaven Allows Section IV: Irony & Mutuality 7 Cinematic Irony: The Strange Case of Nicholas Ray’s Johnny Guitar 8 Passive & Active Skepticism in Nicholas Ray’s In a Lonely Place Section V: Agency & Meaning 9 Vernacular Metaphysics: On Terrence Malick’s The Thin Red Line 10 Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers Acknowledgments Works Cited Index Citation previewįilmed Thought Filmed Thought Cinema as Reflective Form Robert B.
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