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Introduction | |
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Pioneers: The Silent Era and the Transition to Sound | |
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The Photoplay of Action | |
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The Artistic Position of Douglas Fairbanks and The Thief of Bagdad Production | |
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The Function of the Photoplay | |
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The Cabinet of Dr. Caligari | |
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Nanook of the North | |
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A Woman of Paris | |
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Manhandled | |
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The Temptress | |
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What Price Glory? | |
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The Ten Commandments | |
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Greed | |
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The New Chaplin Comedy (The Gold Rush) | |
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from Appendix from Moronia: Note on Technic | |
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The Passion of Joan of Arc | |
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The "Talkies" | |
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"A" in the Art of the Movie and Kino | |
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Remarks on D. W. Griffith | |
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from An Hour with the Movies and the Talkies | |
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Anna Christie | |
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Good Art, Good Propaganda | |
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King Kong | |
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The Invisible Man | |
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Parachute Jumper | |
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Hallelujah I'm a Bum | |
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Ladies They Talk About | |
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Our Betters | |
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King Kong | |
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Night Flight | |
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Camille | |
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The Last of Mrs. Cheyney | |
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Personal Property | |
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Another Dawn | |
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A Day at the Races | |
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The Devil Is a Woman | |
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The Future of Color | |
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The Film Critic of Tomorrow | |
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Dancing in Films | |
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The Charge of the Light Brigade | |
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Masters and Moonlighters: The Late 1930s, World War II, and the Postwar Era | |
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It's Up to the Kiddies (Stand Up and Cheer) | |
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Stars and Garters (Belle of the Nineties) | |
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Artist Among the Flickers (Three Songs about Lenin) | |
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Arms and Men (Lives of a Bengal Lancer) | |
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Words and Music (Broadway Melody of 1936) | |
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In a Dry Month (Hands across the Table) | |
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Cagney: Great Guy | |
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Through the Looking Glass (Stage Door) | |
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Walt Disney's Grimm Reality (Snow White and the Seven Dwarfs) | |
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Hitchcock in Hollywood (Foreign Correspondent) | |
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For Better, For Worse (Time in the Sun) | |
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Handsome Is... (High Sierra) | |
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Citizen Welles | |
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Welles and His Wonders: II | |
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Gone with the Wind Is More Dangerous Than Birth of a Nation | |
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Griffith and the Technical Innovations | |
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The Song of Bernadette | |
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Annual Wrap-Up of 1944 | |
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A Great Film (The Story of G.I. Joe) | |
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The Lost Weekend | |
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Shoeshine | |
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Day of Wrath | |
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Introduction to From Caligari to Hitler | |
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The Gangster as Tragic Hero | |
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A Feeling of Sad Dignity (Limelight) | |
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The Shadow and the Act | |
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Got a Match? | |
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The Golden Age of Movie Criticism: The 1950s through the 70s | |
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The Reluctant War Hero (Casablanca) | |
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Underground Films | |
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White Elephant Art vs. Termite Art | |
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Kitchen Without Kitsch (with Patricia Patterson) | |
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Double into Quadruple Indemnity | |
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Warhol's New Sex Film (Blue Movie) | |
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A King in New York | |
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Pather Panchali and Aparajito | |
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A Note on La Belle, La Perfectly Swell, Romance | |
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The Creative Joy of the Independent Film-Maker | |
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Renoir and Plotless Cinema | |
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Marilyn Monroe and the Loveless World (The Misfits) | |
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On Andy Warhol's Sleep | |
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Not Everything That Is Fun Is Cinema (A Hard Day's Night) | |
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On Bresson and Une Femme Douce | |
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The Misfits | |
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L'Avventura | |
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Lola Montes | |
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The Birds | |
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La Guerre Est Finie | |
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Falstaff and A Countess from Hong Kong | |
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Science Fiction: The Forbin Project | |
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Billy Wilder | |
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Billy Wilder Reconsidered | |
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John Wayne's Strange Legacy | |
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The Imagination of Disaster | |
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Band of Outsiders | |
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Funny Girl | |
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Trash, Art, and the Movies | |
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McCabe & Mrs. Miller | |
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8 1/2 | |
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Cold Blood: Cheap Fiction | |
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The Runners | |
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Midnight Cowboy | |
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The Wild Bunch | |
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Easy Rider | |
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Z | |
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They Shoot Horses, Don't They? | |
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Patton | |
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Zabriskie Point | |
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Is Fiddler More De Mille Than Sholem Aleichem? | |
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These Are a Few of My Favorite Things | |
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Bunuel | |
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The Woman's Film | |
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Sophisticated Interiors | |
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Melancholy Males or Movies About Men Turning 50 | |
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Notes on Film Noir | |
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The Last Picture Show | |
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Jaundice of the Soul (Chinatown) | |
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Blue Notes | |
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M*A*S*H | |
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from The Devil Finds Work (Lady Sings the Blues) | |
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The Bitter Tears of Petra von Kant | |
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Reconsiderations and Renegade Perspectives: The 1980s to the Present | |
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The Keaton Quiet | |
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Bad Movies | |
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The Film Critic of Tomorrow, Today | |
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Cons and Pros (The Lady Eve) | |
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Blue Velvet | |
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Sam Fuller: Movie Bozo | |
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Rebirth of a Nation (Do the Right Thing) | |
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Malcolm X'd Again (Malcolm X) | |
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The Real Thing | |
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The Italian System | |
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A Boy Named Sioux (Dances with Wolves) | |
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Cary Grant | |
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Howard Hawks | |
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Cool Cynicism: Pulp Fiction | |
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Titanic Sinks Again (Spectacularly) | |
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In Dreams Begin Responsibilities (Eyes Wide Shut) | |
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Trouble in Paradise | |
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Gladiator | |
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Imitation of Life | |
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Of Love and the City (In the Mood for Love) | |
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On Val Lewton's The Seventh Victim | |
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Ratpacks and Pack Males | |
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Saying "Ain't" and Playing "Dixie": Rhetoric and Comedy in Judge Priest | |
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Good and Evil Locked in Violent Showdown (The Passion of the Christ) | |
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The Most Overrated Film of the Year (Sideways) | |
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High Hopes (The Royal Tenenbaums) | |
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Not-So-Nice Kitty (The Cat in the Hat) | |
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Once Disaster Hits, It Seems Never To End (A History of Violence) | |
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Sources and Acknowledgments | |