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Translator' Note | |
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Introduction | |
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Typologies of Written Work on the Cinema | |
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The Popular Press | |
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Publications Directed at Cinephiles | |
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Theoretical and Aesthetic Writings | |
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Theories of the Cinema and Aesthetics of the Cinema | |
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An Indigenous Theory | |
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A Descriptive Theory | |
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Film Theory and Aesthetics | |
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Theory of the Cinema and Technical Practice | |
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Film Theories | |
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Film as Audiovisual Representation | |
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Film Space | |
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Techniques of Depth | |
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Perspective | |
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Depth of Field | |
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The Concept of the Shot | |
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The Cinema as Audio Representation | |
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The Economic-Technical Factors and Their History | |
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Aesthetic and Ideological Factors | |
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Montage | |
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The Principle of Editing | |
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The Objects of Editing | |
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Modes of Action in Editing | |
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Montage: The Large Definition of Editing | |
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The Functions of Montage | |
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The Empirical Approach | |
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Toward More Systematic Description | |
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Ideologies of Montage | |
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AndrT Bazin and the Cinema of Transparency | |
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and the Dialectical Cinema | |
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Cinema and Narration | |
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Narrative Cinema | |
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The Cinema Encounters Narration | |
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Non-narrative Cinema: A Difficult Boundary | |
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Narrative Cinema: Objects and Objectives of Film Study | |
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The Fiction Film | |
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Every Film Is a Fiction Film | |
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The Problem of the Referent | |
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Narrative, Narration, and Diegesis | |
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Narrative Codes, Functions, and Characters | |
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Realism in the Cinema | |
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Realism and the Materials of Expression | |
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The Realism of Film Subject Matter | |
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The Plausible | |
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The Genre Effect | |
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The Impression of Reality | |
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Cinema and Language | |
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Film Language | |
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An Ancient Notion | |
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The First Theorists | |
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The Film Grammars | |
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The Classical Conception of Language | |
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A Language without Signs | |
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The Cinema: Language or Language System? | |
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Film Language and Language System(s) | |
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Film' Intelligibility | |
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The Heterogeneity of Film Language | |
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The Materials of Expression | |
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The Concept of Code in Semiology | |
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The Codes Specific to the Cinema | |
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Nonspecific Codes | |
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The Textual Analysis of Film | |
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The Concept of Film Text in Language and Cinema | |
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Case Study: The Textual System of | |
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The Notion of Text in Literary Semiotics | |
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The Originality and Consequence of Textual Analysis | |
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Film and Its Spectator | |
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The Film Spectator | |
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The Conditions of the Representative Illusion | |
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The "Working" of the Spectator | |
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Filmology' Spectator | |
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The Film Spectator as Imaginary Person | |
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A New Approach to the Film Spectator | |
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The Film Spectator and Identification in Film | |
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The Role of Identification in the Formation of the Ego | |
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Identification as Narcissistic Regression | |
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Double Identification in the Cinema | |
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Primary Identification in the Cinema | |
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Secondary Identification in the Cinema | |
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Identification and Structure | |
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Identification and Enunciation | |
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The Film Spectator and the Psychoanalytic Subject | |
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Feminist Theory and the Spectator | |
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Conclusion | |
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Notes | |
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Bibliography | |
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Index | |