Cinema Journal, 25, 1, Fall, 1985

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Front Matter
Robert Altman and the Theory of Authorship, 3-11
Robert Self
Abstract: "Robert Altman" is the name of the author metonymic with the variety of productive forces that intersect and disperse across the set of two dozen films bearing that name. It signifies numerous modes of discourse -- technological, industrial, societal, formal, psychological, academic--each of which authorizes a different "notional coherence" in the reading of these films.
On the Threshold of French Film Theory and Criticism, 1915-1919, 12-33
Richard Abel
Abstract: Led by Emile Vuillermoz and Louis Delluc, between 1915 and 1919, French writing on the cinema developed into an autonomous discourse. Within that discourse there emerged a spectrum of "theories" of "narrative" film, a fascination with "description" through the concept of "photogénie" (later crucial to André Bazin and Jean Mitry), and alternative "musical", "plastic", and "poetic" "theories" of film construction.
Rossellini and Cinematic Realism, 34-49
Peter Brunette
Abstract: This essay sees neo-realist aesthetics from a Derridean perspective and considers how the "real" is used in Rossellini's post-war films to disrupt the prevailing codes of "realism." It examines such later films as "A Human Voice" and "The Machine to Kill Bad People" to make a provisional case for an "expressionist" Rossellini.
Professional Notes, 65-68
Mirella Jona Affron
Back Matter

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