Abrams, M. H. 171
abstract expressionism 275
absurd, theater of the 115
Adorno, Theodor W. 12, 15, 17, 18, 106, 112-113, 116, 201, 276, 326n; and end of art 258; Aesthetic Theory 249, 279; Negative Dialectics 133; The Philosophy of Modern Music 18
aesthetic expression 146
Afghanistan 132
Africa 29
After the Thin Man (Van Dyke) 242-243
Alexander Nevsky (Eisenstein) 292
Alien (Scott) 79
alienation 93
Althusser, Louis 21, 64, 93, 214, 227, 228, 276
American Graffiti (Lucas) 116
Andrade, Mário de, Macunaíma 177
Andrew, Dudley 219
anti-hero 243
anti-Semitism 109
Antonioni, Michelangelo 8, 266-271, 273, 303
anxiety 82
Arac, Jonathan 311
Arevolo, Juan José, “Fable of the Shark and the Sardines” 317n
Aronowitz, Stanley, False Promises 62, 64
Arriflex 301
art deco 252, 253, 254, 263, 309-310, 314
art film 275
art-novella 225
Ashbery, John 115
Astaire, Fred 95
Asturias, Miguel Angel 176, 177, 191
Auerbach, Erich, Mimesis 16, 255
aura 162
auteur 19, 182, 266, 281; theory 114, 120, 243, 251, 273-275
authoritarian personality 201
auto-referentiality 82, 94, 115, 128, 166, 172, 249, 258, 281
auto-reflexivity 169
autonomization 282, 290, 293, 295
autonomy, aesthetic 276, 285, 293; meanings of 276-283; and semiautonomy 286, 292
Bachelard, Gaston 324n
Bacon, Francis 7
The Bad Seed (Leroy) 121
Bad Timing (Roeg) 115
Bakhtin, Mikhail 290
Balzac, Honoré de 19, 60, 78, 219, 228, 243
Banham, Reyner 83
Barnet, Richard J., and Muller, Ronald E., Global Reach 71
Barry Lyndon (Kubrick) 124-125, 126-127, 133
Barthes, Roland 3, 78, 105-106, 110, 183, 222, 262, 283; Camera Lucida 271; Mythologies 28, 117
base and superstructure 226, 310
Battleship Potemkin (Eisenstein) 283
Baudelaire, Charles 2, 195, 214, 290
Baudrillard, Jean 22
Bazin, André 82, 179, 254-257, 264-267, 271, 283
beat poets 127
The Beatles 215
Bel Geddes, Barbara 296
Bell, Daniel 76
Bellour, Raymond 319n
Benchley, Peter, Jaws 34
Benjamin, Walter 7, 31, 100, 234-235, 265, 288, 298, 318n
Bergman, Ingmar 114, 142, 157, 219, 273, 283
Bergman, Ingrid 287
Bertolucci, Bernardo 187, 303, 307-308
Bildungsroman 6
The Birds (Hitchcock) 120, 150, 152, 295, 296
Bismarck, Otto von 110
Black English 230
Black literature, American 215
black-and-white film, end of 257, 266-267
Bloch, Ernst 88, 94, 96, 99, 100
Blow Out (De Palma) 82, 84, 85, 267
Blow-Up (Antonioni) 266-271, 303
Bolshevik Revolution 253
Bonnie and Clyde (Penn) 67
Bonnot, Jules (bande à Bonnot) 178
Book of the World 280 Boorman, John 246, 249
Borges, Jorge Luis 176, 258, 286
Bourdieu, Pierre 250-251, 328n, 333n
bourgeois culture 213, 215, 226, 232
Brakhage, Stan 216
Brandes, Georg 5
Brazil 261
Brecht, Bertolt 16, 18, 31, 42, 86, 87, 111;
Brownlow, Kevin 108
Buffalo Bill and the Indians (Altman) 115
Buñuel, Luis 142, 283, 284, 316n
Börger, Peter 276 business, American 38, 42, 45, 114
Cabra marcado para morrer 260-262
Cagney, James 41
Cahiers du cinéma 273
Callea, Joseph 242
and realism 55
Campbell, Joseph 94
Camus, Albert, The Plague 185
Capablanca 301
American 30, 70-71; late 20, 43, 84, 107, 108, 119, 173, 253, 278-279; Marx on 13; stages of 213, 214-215, 225-226; transition from feudalism to 311-312
Capote, Truman 128
Les Carabiniers (Godard) 14-15
Caro, Robert 254
Carpentier, Alejo 176-177, 190
Carter, Jimmy 29
La Casa de Agua (Penzo) 178, 181, 184-186, 199, 209
Cavell, Stanley 137, 196, 202, 321n
Céline, Louis-Ferdinand 109
Cervantes, Miguel de, Don Quijote 5, 19, 229
Chandler, Raymond 143, 150, 290
chansons de geste 41
chapter as formal unit 285, 293
Chesterton, G. K. 258
China 132
Christ figure 93
Christianity 255
Citizen Kane (Welles) 275
civil rights movement 49
Clarke, Arthur C. 133
class consciousness 39, 230, 232, 233; and class struggle 31-32; and figurability 51; and Marxism 47-50, 63-65, 70; and nostalgia 132-133
classical film 219
A Clockwork Orange (Kubrick) 118
closure 240
codes, dialectical 231; restricted and elaborated 230-233, 237-239
cognitive mapping 74
collectivization 238
Colombia 190
color 4, 183, 193-194; in film 196-197, 198-199, 263-264, 300, 302; as historical reference 178; and magic realism 195-196; stock 338n; systems 264, 298; tinting 336n; vs. glossiness 191-192
commodification 15-18, 20, 243
commodity, as concept 14; culture 243; fetishism 259; reification 278; reproduction as 302; system 59
Common Market 108
Condores no se entierran todos los dias (Norden) 178, 186-189, 200-207, 209
Il Conformista (Bertolucci) 116, 187, 201, 303, 307, 322n
connotation 117
Conrad, Joseph 98, 137, 290; Lord Jim 96; Nostromo 201; The Secret Agent 178
containment, strategy of 151
contradiction 81
The Conversation (Coppola) 267
Coppola, Francis Ford 34, 88, 108, 267
Cotten, Joseph 156
couple as hero 159
Le Crime de Monsieur Lange (Renoir) 77
Crime Story 299
critical theory 133
Cronenberg, David 302
Cuba 198, 233, 299, 301, 317n, 337n
Cul-de-sac (Polanski) 115
cultural revolution 225-226, 240
culture, end of 221
culture, mass 18-22, 25-28, 34, 93, 97-98, 113
Dahrendorf, Ralf 65
daily life 57, 227; and American city 144-149; and camera 234; and realism 233; time in 204
Dark Passage (Daves) 153
Daves, Delmar 153
De Gaulle, Charles 107
De Palma, Brian 75, 76, 82, 267
De Sanctis, Francesco 5
de-naturalization 231
Dean, James 128
Debord, Guy 29, 162, 173; The Society of the Spectacle 15
decentered subject 161
Deleuze, Gilles 7, 105, 136, 195, 238, 255, 286, 331n; Cinéma 330n
democratization 253
Descartes, René 173
detective story 16
dialectical criticism 174
Dickens, Charles 19
Dietrich, Marlene 297
Disney, Walt 253
distinction 251
Doctorow, E. L., Ragtime 57, 116, 305
documentary 222, 257, 258, 265
Dog Day Afternoon (Lumet) 52-56, 58-74
Dog Star Man (Brakhage) 216
dominant and determinants 214
Don’t Look Now (Roeg) 115
Dos Passos, John 236
Dostoyevsky, Fyodor 25
Dr. Strangelove (Kubrick) 115
Dreiser, Theodore 59, 117-118, 274
drugs, experience of 206
dual inscription 166
The Duellists (Scott) 305
Duras, Marguerite 233, 303; Le Marin de Gibraltar 294-295, 296
Dylan, Bob 93
Eclipse (Antonioni) 267, 269, 270
Edison, Thomas 94
Eisenstein, Elizabeth 337n
Eisenstein, Sergei 114, 217, 252, 283, 291-292, 293
El Salvador 200
Eliot, T. S. 292, 294; The Waste Land 287
elitism 11
Ellison, Ralph 215
Elsaesser, Thomas 326n
encoding 141
episodization 285, 286, 290, 292, 295
Erikson, Erik 110
espionage thriller 67
Esprit movement 255
Estes, Richard 83
ethnic groups, and Utopian fantasy 43-44
ethnic/post-ethnic film 232-233, 309
existentialism 7, 56-57, 82, 185, 243, 263-265
The Exorcist (Friedkin) 119, 132
expressionism 86
extrinsic and intrinsic criticism 245, 248-249
false consciousness 39, 224-225, 227
familiarity 180
Family 72
Family Plot (Hitchcock) 150
fancy and imagination 183, 286
fascism 253, 307-308; and art 251, 253
Faulk, John Henry 54
Faulkner, William 58, 104, 274; Sanctuary 180
The Fearless Vampire Killers (Polanski) 115
Fernandez, Pablo Armando, Los Niños se despiden 194, 195
Fernandez, Wilhelmenia 81
Fever (Holland) 177-178, 183, 187, 195, 199, 207-209
figuration, figurability 51, 65, 68, 69, 103-105, 189
film stock 247-248, 261, 301; see also color
filmic knowledge 164
F.I.S.T. (Jewison) 40
Flaubert, Gustave 64, 284, 285, 291; L’Éducation Sentimentale 285;
Madame Bovary 286; Salammbô126
Flores, Angel 176
Forman, Milosš 57
Foucault, Michel 173; History of Sexuality 83
frame-by-frame analysis 137
France/Tour/Détour/Deux Enfants 90
Frank, Joseph 203
Frankfurt School 12, 16, 17-18, 21, 27-28, 39, 133, 243, 252
Franklin, Benjamin 124
freeze-frames 264
Freud, Sigmund 5, 26, 32-33, 77, 88, 133, 173; and critique of origins 313; on dreams 137; and hypnosis 206; and instinctual drive 193; and language 196; and psychic subject 206; and the “uncanny” 177, 197-198; and unconscious 220; and wishfulfillment 292-293; “Mourning and Melancholia” 317n
Friedrich, Caspar David 331n
Frith, Simon 334n
Frost, Robert 19
Gaitán, Jorge Eliécer 322n
Galileo Galilei 173
gangster films 41, 187, 200, 202, 241, 242, 309
Garcia Espinosa, Julio 300
García Márquez, Gabriel 176, 177, 191
Gaullism 80
Gaultier, Jules de, Le Bovarysme 5-6
Genet, Jean 117
genre 23-25, 138-139; end of 249-250, 260; films 114, 251, 274; and pastiche 112-113; and representation 241; systems 241-242, 244
Gide, Andr? Paludes 282
Girard, René Mensonge romantique et vérité romanesque 6
Glass, Philip 18
Godard, Jean-Luc 8, 14, 75, 88, 89-91, 102, 107, 138, 257, 259, 300, 301, 336n; Scénario du film “Passion” 318n
The Godfather (I and II) (Coppola) 12, 13, 34, 40-46, 304, 307, 308
Goebbels, Joseph 95
Gombrich, Ernst 195
Gone with the Wind (Fleming) 95
Gorris, Marleen 233
Goulart, João 261
Gouldner, Alvin W. 230
grade-B films 114, 300, 301, 302
Gramsci, Antonio 246
Grant, Ulysses B. 101
The Grapes of Wrath (Ford) 271-272
The Great Dictator (Chaplin) 95
Greene, Graham 142
Grierson, John 55
Griffith, D. W. 138, 169, 217, 269, 279
Guattari, Félix 136, 238, 331n
Guevara, Ernesto “Che” “Message to the Tricontinental” 301
Haggard, H. Rider 98
Hansen, Duane 78
Hawks, Howard 202
Haymarket incident 178
Heath, Stephen 34
Heaven’s Gate (Cimino) 308
Hegel, G. W. F. 21, 50, 94, 103, 104, 163, 170, 221, 246, 279, 327n; and end of art 258; on language 334n; master narrative of 250; Phenomenology 26
Heidegger, Martin 14, 57, 199, 206, 255, 256, 266, 267, 269
Heine, Heinrich 87
Hemingway, Ernest 127
Herrmann, Bernard 287
Herzog, Werner 186
Hierneis, Theodor 90
Himmler, Heinrich 110
historicity 262
historiography 246, 249, 304-305, 311-314
history 310; with holes 179-180, 205-206
Hitchcock, Alfred 8, 19, 75, 114, 118-119, 138-143, 149-168, 219, 273, 275, 281, 283, 284, 286-290; and place 149-150; readings of 104, 141-143, 281; romances 295-298; thrillers 294
Hitler, A Film from Germany (Our Hitler) (Syberberg) 89-92, 94, 100, 107-111
Hitler, Adolf 87, 91, 94-95, 97, 99, 101-102, 107-110, 110, 202, 253
Hjemslev, Louis 189
Hoffa, Jimmy 40
Hoffmann, E. T. A, “The Sandman” 197
Holland, Agnuszka 177
Holland, Norman, The Dynamics of Literary Response 33
Hollywood 253; end of 249-250; realism 220, 239-244; and sound film 251; style 239; and technology 252
housing development, US 61
Hugo, Victor 19
Huston, John 201
I Confess (Hitchcock) 150, 157
iconoclasm 103
identification 152-154, 161, 163, 228
identity 327n
ideology 101, 185, 206, 209, 227
imperfect cinema 257, 300-301, 302
impressionism 137
improvisation effect 89
independent film 228
“instrumentalization” 12
intellectual cinema 252
intra- and extra-aesthetic relationships 72-73
IRA 178
irony 7, 152-153, 158, 161, 162, 220, 276, 290, 326n; romantic 158
James, Henry 12, 101, 152-153, 158, 205; The Wings of the Dove 13
Jarmusch, Jim 232
Jarvis, Howard 29
Jeanne Dielman (Akerman) 233
Jones, James 127
jouissance 178
Joyce, James 19, 94, 112, 236, 290; Finnegans Wake 26, 280; Ulysses 204, 285, 293
Kafka, Franz 25, 58, 82, 238, 290
Kant, Immanuel 2, 13, 109, 276, 285, 330n
Karl May – In Search of Paradise Lost (Syberberg) 97-99
Keaton, Buster 290
Kerouac, Jack 127; On the Road 128
Kertész, André 271
Kesey, Ken, One Flew Over the Cuckoo’s Nest 57
The Killing (Kubrick) 115
King, Stephen, The Shining 124, 127, 134
Kino-pravda 55
kitsch 218
Kojin, Karatani 330n; Origins of Modern Japanese Literature 6
Kortner, Fritz 90
Kracauer, Siegfried 254-256, 264-266, 271, 286, 288; From Caligari to Hitler 326n
Lacan, Jacques 21, 140, 153, 173, 177, 183, 196, 206; Eleventh Seminar 192-193
Laclau, Ernesto 333n
Lacombe, Lucien (Bertolucci) 303
Lady in the Lake (Montgomery) 153
The Lady Vanishes (Hitchcock) 151, 295
language 238-239; denotative or literal 221-222; of film 278; film as 140-141
Lasch, Christopher 83
Latin America 178; film in 179, 186, 191, 200
Lawrence, D. H. 104; Studies in Classic American Literature 6
Le Corbusier (Charles-Edouard Jeanneret) 83
Lefebvre, Henri 324n
legitimation crisis 250
Lehar, Franz 95
Leibniz, Gottfried Wilhelm 242, 330n
leisure culture 254
leitmotif 106
Lem, Stanislaus 286
Lenin, V. I. 32
Léon, Cruz Elías 178
LeRoy, Mervyn, Little Caesar 202
Lévi, Bernard-Henri 79
Lewis, P. Wyndham, Tyros 290
linear history 284
The Lodger (Hitchcock) 151, 152-155, 166-167
logic of content 189
London 267
Lotman, Jurii 213
Louis XIV, King 262
Lovecraft, H. P., The Strange Case of Charles Dexter Ward 124
Lu Xun, Brief History of Chinese Fiction 5
Ludwig II, King 90, 91, 97, 98, 99, 101, 105, 107
Lukács, Georg 6, 21, 64, 74, 94, 96, 102, 109, 125, 172, 179, 219, 304, 306, 322n, 327n; History and Class Consciousness 234; Soul and Forms 224, 325n; The Theory of the Novel 224, 325n
Lumet, Sidney 53
Lumière, Auguste and Louis 269
Lynch, Kevin 235
Lyotard, Jean-FrançOis 237, 311, 318n
M (Lang) 122
MacArthur, Douglas 54
MacCabe, Colin 215
McCabe and Mrs. Miller (Altman) 115
McCarthy, Joseph 42
Macherey, Pierre, Towards a Theory of Literary Production 44
machine age 83
McLuhan, Marshall 170
McQueen, Steve 128
Magritte, Ren?82
Mahler, Gustav 218
Malamud, Bernard 58
Mallarmé Stéphane 285; Un coup de dès 282; Le Livre (project) 21, 280
Man, Paul de, 326n
The Man Who Fell to Earth (Roeg) 115
The Man Who Knew Too Much (Hitchcock) 150, 280, 287
Mandel, Ernest 84
Manet, Edouard 218
manipulation theory 30, 32, 39
Mann, Thomas 104, 112; Doctor Faustus 104, 257-258
Manson, Charles, murders 54
Marcuse, Herbert 12, 279-280; The Aesthetic Dimension 18
Marnie (Hitchcock) 152
marriage, in Hitchcock films 167
Marshall, Herbert 155
Marville, Charles 288
Marx, Karl 62, 70, 87, 88, 173, 246, 312; Capital 13, 225
Marxism 12, 21, 28, 46, 47-50, 63-65, 88, 311, 312, 333n
Mash (Altman) 115
mass production 84
materiality 136
Maupassant, Guy de, Bel-Ami 243, 292
May, Karl 91, 97-99, 101, 107, 108
Mayer, Arno, The Persistence of the Old Regime 310
meaning, types of 139-140, 149
melancholy 287, 288-289, 291, 295, 308
melodrama 241
Melville, Herman, Moby-Dick 37
metageneric film 115-116, 120, 122-123
Method acting 58
Metz, Christian 140; Imaginary Signifier 170-171
Miami Vice 299
Michelson, Annette 133
Mills, C. Wright 68
Milton, John 290
The Missouri Breaks (Penn) 67, 115
modernism 213; Barthes and 110; concept of 21, 281-282; features of 276; filmic 272-273; high 278-279; and mass culture 20-22, 34; and modernization 310; as passivereceptive activity 224; and postmodernism 102-105, 113, 218-219; second 275; spurious aesthetic of 251; see also realism
molecular and molar 136-138, 195, 286
Molière 19
moment of truth 190
Monory, Jacques 78
Montgomery, Robert 153
Moravia, Alberto, The Conformist 307-308
Moreau, Frédéric 58
Moretti, Franco 325n
motivation of the device 249
multinational corporations 42, 63, 68-72, 214-215
Munch, Edvard, Scream 82
murder, in Hitchcock films 139-140
Murder! (Hitchcock) 151, 155-159
music 86, 91; pop 26-27, 93; rock 115, 215, 334n
Musil, Robert 290
Mussolini, Benito 269
My Beautiful Laundrette (Frears/Kureishi) 232
Nabokov, Vladimir 143, 144, 159, 164, 275, 282, 290
Naked Night (Bergman) 142, 157
Napoléon (Gance) 108
Napoleon I, Emperor 108
narrative 136-137, 247; and the body 203-204; commodification of 17; dual 166-170; entry into 180-181; episodic 295; grand 237, 306, 311; historical 252; and magic realism 178-179; master 310-311; neutralization of 205-206; perspective 181; point-ofview 180; and realism 176-177, 228; theory of 227; third and first person 159
NATO 108
Nazism 38, 39, 87, 101, 105, 109, 111, 185, 252; and art 253
Negt, Oskar, and Kluge, Alexander 277
New Wave 235
Newark, New Jersey 61
Newhall, Beaumont, History of Photography 288
Newman, Paul 128
News from Home (Akerman) 235-238
Nicholson, Jack 121, 123, 127-130, 132, 134
The Night Porter (Bertolucci) 303
Nixon, Richard 102
Norinaga, Motoori 5
Norris, Frank 58
North by Northwest (Hitchcock) 150, 151, 295
nostalgia culture 57, 115-116, 132-133, 220, 309, 314
nostalgia film 179, 182, 187, 189, 196, 199, 261, 299, 302-308, 310; detective series 299; as nostalgia-deco film 310
Notorious (Hitchcock) 295
novel, and film 5-6, 23-24; historical 124-126; modernist 285; realist 215
objectivity 225
Los Olvidados (Buñuel) 142
One Flew Over the Cuckoo’s Nest (Forman) 57
O’NEILL, Eugene 127
The Opportunist (Un hombre de exito) (Solas) 299, 301, 304
organic form 330n
organic work 284
Our Hitler see Hitler, A Film from Germany
overdetermination 198
Pacino, Al 55-56, 58, 66, 67, 307
Paris Commune 79
parody 112
Parti socialiste (France) 80
pastiche 112-113, 116, 123, 126
Paths of Glory (Kubrick) 115
Penn, Arthur 67
Percy, Esme 155
Performance (Roeg) 115
periodization 249
Perkins, Anthony 156
philosophy 230
photography 222-223, 256; “fiction” 262-263; still 262-265
photorealism 78
physical reality 254
Pirandello, Luigi 262
Platonov, Andrei 82
pleasure 303;
bonus of 302
Point Blank (Boorman) 246
point of view 152-153, 182, 186-187
Polanski, Roman 112
political content of films 52-53, 93, 110-111, 238
Pollock, Jackson 19
Ponge, Francis 223
Portrait of Teresa (Vega) 233
Portugal, revolution (1974) 259
postmodernism 83, 84-85, 102, 113, 115, 152, 182, 198, 213, 216, 218; and art deco 314; concept of 221, 257, 298; and rock music 215; and video 217
poststructuralism 22, 152, 216
Powell, William 242
Pravda 34
Presley, Elvis 215
printing 337n
Private Eye 299
production, modes of 190
proletkult 222
Proust, Marcel 2, 26, 104, 144, 146, 203, 218, 262, 283, 285, 288, 295
Psycho (Hitchcock) 118-119, 122, 152, 156, 163-168, 287, 289, 296
psychobiography 202
public sphere 277
punctum 183
Puzo, Mario, The Godfather 44
Queneau, Raymond 77
A Question of Silence (Gorris) 233
Quintet (Altman) 115
Racine, Jean 201
Radiant City 280
Ray, Satyajit 273
realism 213-273; defined 232; as demiurgic praxis 223; filmic 254-256; Hollywood 220, 239-244; literary 222; and modernism 223-226, 231; and narrative 228, 255; non-fictionality of 229; and photography 263; and the unspoken 229-230; as unstable concept 217-218
Rear Window (Hitchcock) 167, 295, 296, 320n
Red Brigade 29
Reed, Ishmael 215
Reflections of a Golden Eye 201
La Région centrale (Snow) 235
La Régle du Jeu (Renoir) 256
reification 12, 14, 21-22, 151, 162, 172-173, 264, 278, 284; of daily life 94; and dereification 100-101, 102, 259; of figural system 106
religion 80, 102-103, 157, 159, 254-255
Renoir, Jean 104, 255-256, 265, 266, 273
representation 189, 224, 228, 238-239, 241, 251
Requiem for a Virgin King (Syberberg) 97
resolutions 81
Restoration (France) 80
retroactivity 26
Riley, Terry 18
Rilke, Rainer Maria 104
ritual 232
Robbe-Grillet, Alain 23, 203, 228
Robinson, Edward G. 41
Roeg, Nicholas 112
Rolling Stones 215
Romanticism 80
Rome 267
La Ronde (Ophüls) 183
Rosemary’s Baby (Polanski) 115
Rossellini, Roberto 266
Roth, Philip 58
Rothman, William, Hitchcock: The Murderous Gaze 136-141, 150, 151-154, 156-171, 173-175
Russia 132
Sainte-Beuve, Charles-Augustin 5
Salt of the Earth (Biberman) 30
San Francisco Mime Troop 30
Sartre, Jean-Paul 32, 57, 101, 173, 247, 248, 327n; and bad faith 250; Flaubert trilogy 64; Nausea 7, 104, 270; Psychology of Imagination 72; Saint Genêt 117; What is Literature? 233
Saussure, Ferdinand de 194, 196
Scarface (Hawks) 202
Schiller, Friedrich 269
Schlegel, A. W. and K. W. F. von 159
Schneider, Romy 90
Schoenberg, Arnold 18, 19, 113
science fiction films 95, 115, 119, 131, 133
scopic drive 192
screwball comedy 241
self-consciousness 216, 220, 266
Sennett, Richard 83
The Seventh Seal (Bergman) 283
Shadow of a Doubt (Hitchcock) 151, 156, 163, 164, 167
Shakespeare, William 19
Shepherd case 54
The Shining (Kubrick) 115, 118-134, 336n
Shirer, William 111
Shumyatsky, Boris 252
Sigal, Clancy 30
silent film 216
Silverberg, Robert, Dying Inside 121
Sim, Alastair 297
Simenon, Georges 19
Snow, Michael 235
social experience 236
social reality 309
social/socialist realism, Soviet 241, 251, 252, 272, 300, 310
Solas, Humberto 307
Solidarity 207
Sollers, Philippe 115
Solzhenitsyn, Alexander 80
sound film 216-217, 239, 242-243, 245, 251-252
space, transformation of 226
spatial form 203
spatial grid 237
Spellbound (Hitchcock) 142, 152, 287
Spengler, Oswald 213
Spielberg, Steven 34
Spinoza, Benedict 276
Spinrad, Norman, The Iron Dream 95
Spoto, Donald 320n
spy movies 115
Stage Fright (Hitchcock) 296-297
Stalin, Josef 254
Stein, Gertrude 23, 24; Four in America 101
Stendhal (Henri Beyle) 24, 219, 294
Stevenson, R. L. 258
Stewart, James 287, 296, 297, 320n
Stranger than Paradise (Jarmusch) 232
Stravinsky, Igor 104, 112, 116
Stroheim, Erich von 114, 217, 252, 265
students’ movement 49
Sturgeon, Theodore, More than Human 121
subject, death of 238
subjectivism 113
subjectivity 276
substance 189
Sullivan, Louis 218
Suspicion (Hitchcock) 154, 164
Syberberg, Amelie 90
tableau 316n
Taine, Hippolyte 5
The Tale of Genji 5
Tati, Jacques 290
technological determinism 246
technology 84, 116, 198, 244-245, 248-253
Teixeira, João Pedro 261
television 8, 11, 24, 61, 72, 250, 291, 299; “aesthetic bankruptcy” of 25; fictional documentaries 54-55
Thalberg, Irving 252
theatricalization 321n
Third World 63, 69, 81, 132, 198, 300
The 39 Steps (Hitchcock) 152, 155, 159-163, 168, 295
The Threepenny Opera (Brecht/Weill) 94
thrillers 115
To Catch a Thief (Hitchcock) 150
Tolstoy, Leo 219
Tommy (Russell) 93
Topaz (Hitchcock) 150
Torn Curtain 150
totalization 94
Tovey, Donald 151
tragedy, Greek 19
translation/ transcoding 136
Trevor-Roper, Hugh 111
Trintignant, Jean-Louis 307-308
The Trouble with Harry (Hitchcock) 142, 150
Truman, Harry S. 54
Tutuola, Amos 177
twelve-tone music 275
UFA 99
Utopianism 39-40, 43, 45-46, 70, 80, 83, 85, 88, 96, 99, 121, 130, 233, 244, 279, 293
valorization, of aesthetic 219; of reflexive 220
Veblen, Thorstein 132
Vega, Pastor 233
Venezuela 190
Vertigo (Hitchcock) 114, 118, 150, 152, 296
Vidal, Gore 34
video 217
Videodrome (Cronenberg) 302
The Village of the Damned (Rilla) 121
Voltaire, Candide 77
Voroshinov, Valentin 290
Vorster, B. J. 29
voyeurism 296
Wagner, Richard 86, 87, 89, 91, 94, 101, 105, 106, 108, 110
Wajda, Andrzej 273
war movies 115
Washington, George 101
Wayne, John 95
Weber, Eva 252
Weekend in Guatemala (Asturias) 191
Weimar 86
Wellek, René, and Warren, Austin 245
Wenders, Wim 303
Weston, Edward 263
Williams, Raymond 125
Williams, William Carlos, Paterson 120
Winters, Yvor 293
Wittgenstein, Ludwig 93
Wollen, Peter 247-248, 337-338n
women, in film 296
women’s film 233
women’s movement 49
Woolf, Virginia 285
World War II 95
Wright, Richard 215
Wright, Will, Sixguns and Society 41
Wright Brothers 101
Wyeth, Andrew 19
Wyman, Jane 297
Yates, Frances, Art of Memory 324n
Young, Lamonte 18
Yurick, Sol 30
Zoetrope Studios 108
Zola, Emile 255, 285, 316n; Au bonheur des dames 243; La Bête humaine 181; Le Ventre de Paris 181