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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.
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.
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.
Patrice Petro, Carol Flinn
E. Ann Kaplan
Mirella Jona Affron