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Michael J. Anderson Resurrecting the Rube: Diegesis Formation and Contemporary Trauma in Tony Scott's Déjà Vu Michael J. Anderson is a joint PhD candidate in the Film Studies and History of Art departments at Yale University. His electronic publications include pieces on Jacques Rivette's Historie de Marie et Julien (2003) and Michael Mann's Collateral (2004), both for Senses of Cinema. His current research focuses on the early works of Howard Hawks.
Rashna Wadia Richards Unsynched: The Contrapuntal Sounds of Luis Buñuel's L'Age d'Or Rashna Wadia-Richards is Assistant Professor of English and Director of Film Studies at Rhodes College. Her work on film history and theory has appeared in Framework, Criticism, and Arizona Quarterly. She is currently completing a book on rethinking cinephilia as a critical approach to Classic Hollywood cinema.
Homer B. Pettey Topographic Economies in Dassin's Thieves' Highway Homer B. Pettey is Associate Professor of Film and Television Studies in the School of Media Arts at the University of Arizona. His current research concerns new theoretical and aesthetic approaches to film noir.
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Long dismissed as an "action hack director," Tony Scott has recently received belated recognition as a significant auteur. Nevertheless, much remains to be made of the substantial theoretical interest contained in the director's 2006 career peak, Déjà Vu. This essay locates this interest in two areas: one, the nature and shape of diegetic construction in Scott's film, presented in both a new media-inspired image-within-an-image that encourages the two-way exchange typical of gaming and virtual reality; which has been excluded heretofore by traditional narrative film form's uni-directionality; and two, the film's physic engagement with contemporary American traumas (namely the Oklahoma City bombing, 9/11, and Hurricane Katrina) through a naïve "Rube" figure, to take Thomas Elsaesser's model, whose actions permit the undoing of Déjà Vu's fictionalized tragedy.
Luis Buñuel's L'Age
d'Or has mainly been seen in visual terms, as the perfect Surrealist
juxtaposition of the sacred and the profane as well as the decisive
attack on the twin authorities of church and state. This essay investigates
the film's aural revolution by examining how Buñuel resists the
theatrical naturalism of sync sound, with its illusion of coherent bodies
in rational worlds, and instead adapts Eisenstein's notion of "contrapuntal
sound," producing counterpoint between the image and sound tracks.
L'Age d'Or thus represents Buñuel's most vociferous audiovisual
attack, not only on Surrealism's traditional enemies, but also on the
family, art, and finally on love itself.
John Maynard Keynes' General
Theory of employment, interest, and money
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Festivals The 59th International Berlin Film Festival: Documentaries Rule by Gerd Gemünden
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Book Reviews Martha P. Nochimson, Dying to Belong: Gangster Movies in Hollywood and Hong Kong by Kevin Esch Steven Ricci, Cinema and Facism: Italian Film and Society, 1922-1943 by Laura Heins Anna Powell, Deleuze, Altered States and Film by Brian K. Bergen-Aurand Cynthia Baron and Sharon Marie Carnicke, Reframing Screen Performance by Jeorg Sternagel
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