...Rebecca Egger Illustration from John Scotland, The Talkies (London: Crosby Lockwood and Son, 1931). Deaf Ears and Dark Continents: Dorothy Richardson’s Cinematic Epistemology Rebecca Egger As feminist film theory moves beyond its long-standing preoccupation with feminine...

... the end of the film. It is the traveller. Crosses the square. The square, crossed. * These first fiveshots oftheopening segment ofWoman ofthe Ganges de- scribe a passage: the arrival of Michael Richardson, the traveller, into the scene ofthe fiction, acrossthe look...

..., but was struck as well by the number of female modernists (Gertrude Stein, H.D. and Dorothy Richardson) who were also, in one way or another, invested in/curious about the cinema. Was their critique of patriarchal language more deeply grounded than Joyce’s, Mallarmi’s or others’? Would their critique...

... by the figures of the mad beggar- woman and the Vice Consul, whose stories also become mixed and identified with that of Anne-Marie Stretter. The novelL’Arnour (1971) reopens the story of Lo1 V. Stein in S. Thala with the return of Michael Richardson many years later to the fantasmic scene...

... Aren’t. No. 30; pp. 113-137 Egger, Rebecca Deaf Ears and Dark Continents: Dorothy Richardson’s Cinematic Episte- mology. No. 30; pp. 5-33 Feldman, Jamie Gallo, Montagnier, and the Debate Over HIV: A Narrative Analysis. No. 28; pp. 101-133. Fletcher, Estelle S. A Review...

... a Woman • Autobiography, psychoanalysis, hearsay • The phallus (a dead object?) • The work of (or homage to) Claire Johnston, Dorothy Richardson, and Ethel Waters • The Feminar of the late 1970s, the first Console-ing Passions, and other gatherings • Women and Film...

... a Woman • Autobiography, psychoanalysis, hearsay • The phallus (a dead object?) • The work of (or homage to) Claire Johnston, Dorothy Richardson, and Ethel Waters • The Feminar of the late 1970s, the first Console-ing Passions, and other gatherings • Women and Film...

... a Woman • Autobiography, psychoanalysis, hearsay • The phallus (a dead object?) • The work of (or homage to) Claire Johnston, Dorothy Richardson, and Ethel Waters • The Feminar of the late 1970s, the fi rst Console-ing Passions, and other gatherings • Women and Film • The Sony...

... a Woman • Autobiography, psychoanalysis, hearsay • The phallus (a dead object?) • The work of (or homage to) Claire Johnston, Dorothy Richardson, and Ethel Waters • The Feminar of the late 1970s, the fi rst Console-ing Passions, and other gatherings • Women and Film • The Sony...

...: GalLmard, 1952. Translated as The Sailor from Gibraltar. New York: Grove Press, 1967. Filmed version by Tony Richardson in 1967. Les petits chevaux de Tarquinia. Paris: Galhmard, 1953. Le Square. Paris: GalLmard, 1955. Translated as The Square in Four Novels. New York: Grove Press...

... Press, 1990. $12.95. Writing the Future edited by David Wood. Routledge, 1990. Governing the Soul: The shaping of the private selfby Nikolas Rose. Routledge, 1990. Liberalism and the Good edited by R. Bruce Douglass, Gerald M. Mara, and Henry S. Richardson...

... the brutal hero (e.g., Richardson’s Pameh). However, Modleski is least hopeful about the Harlequin’s utopian promises. She claims that these narratives place the reader into a kind of ‘ ‘split consciousness,” incite guilt feelings, and might actually induce female hysteria...

..., that balcony in front of the gardens of Shalimar, that beggarwoman, the faceless guests. ?he voices were enough. Visually, only what was indis- pensable had to remain: she, Anne-Marie Stretter, he, the Vice-Consul of Lahore, the other lo;er, Michael Richardson, and the two young men: the Young Attachi...

... province too easily accepts the existing canon of modernist work and overlooks the abounding presence of female modernists (from Stein to H.D. to Dorothy Richardson, to name only a few literary exemplars) who challenged the very authority of the male. Huyssen would probably...

... Richardson (in which films are reviewed in the local and social context of “washday” reception; films seen years ago live on within the “cumulative life as memory”; and the “front row” boys submit to a “blissful terror” faced with the “discreet immensity” of the aural and visual experience...

... Richardson, Ger- trude Stein, Geraldyn Dismond, Nancy Cunard, and Marianne Moore first began writing on cinema. Close Up thus constitutes an important founding moment in feminist film criticism and provides unique insight into women modernists reflections on the aesthetic portrayal of trauma and healing...

..., History, Recognition.” Wide Angle 5, no. 2 (1982a): 26-31. -. “A Refusal of Difference: Identification and the Star.” Star Signs. London: British Film Institute, 1982b. 47-54. -. 348 “ ‘Because they speak different languages’: Dorothy Richardson and ‘The Film...

...: the wealthy pay human traffickers vast sums of money to torture young tourists to death on the site of an empty factory in Eastern Europe. The West is presented as a site of consumer pleasure and excess in which the exploitation of bodies is concealed by the cover of law, as Joshua (Derek Richardson) protests...

... by Tony Richardson. In this film Manni is cast as an Italian wood- cutter and thus his appearance and language nominally indi- cated, though not entirely explained. But Mademoiselle goes a step further in filming his and Moreau’s climactic nocturnal tryst...

... actively inducing imitation in others 200 • Camera Obscura while at the same time already existing as a form of imitation, something appearing “after the fashion” of a previously estab- lished model and which reflects or refers back to it. Thus Samuel Richardson’s Clarissa (from the novel of the same...