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differences (2016) 27 (3): 45–92.
Published: 01 December 2016
..., female hysterics could endure multiday laughing, barking fits without so much as a trace on their bodies. Finally, I think about the striking oppositions between the female laughing hysteric and the hysterically laughing woman through the archives of early cinema. Film spectatorship not only offered...
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differences (1993) 5 (2): 1–23.
Published: 01 July 1993
... by and through the cinema. Such discourses indicate her marginal status in the male's epistemological confrontation with the technologies of modernity. For what is at stake in the early stages of development of the cinema is very much the body, but it is a body which is preeminently masculine, a body which...
differences (2007) 18 (1): 29–52.
Published: 01 May 2007
... is author of two books, D. W. Griffith and the Origins of America Narrative Film (University of Illinois Press, 1991) and The Films of Fritz Lang: Allegories of Vision and Modernity (British Film Institute, 2000), as well as over a hundred articles on early cinema, the avant garde, film genres...
differences (1997) 9 (2): 1–24.
Published: 01 July 1997
... the persistence of a double logic of inscription and erasure of the body in the time and motion studies of Marey and Gilbreth, which liken the body to a machine, and in the early cinema, particularly that subset of the avant-garde that understands the specifically cinematic as pure energy or kinesis...
differences (2010) 21 (3): 1–33.
Published: 01 December 2010
..., of those elements that make the stage (and, implicitly, the novel) a world of ethical complexity and aesthetic compromise. My concern is not whether the qualities that Lukács attributes to early cinema truly existed...
differences (2004) 15 (3): 123–156.
Published: 01 December 2004
..., 1999 . 81 -104. Gibbons, Fiachra. “Anatomist Will Escape Charges.” The Guardian 22 Nov. 2002 : 7 . Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectators, and the Avant-Garde.” Early Cinema: Space, Frame,Narrative . Ed. Thomas Elsaesser. London: British Film Institute, 1990 . 56...
differences (1999) 11 (2): 177–203.
Published: 01 September 1999
... Surgery.” Time 25 Jan. 1999 : 83 . Gunning, Tom. “An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator.” Art and Text 34 (Spring 1989 ): 31 –45. ———. “The Cinema of Attraction: Early Film,Its Spectator and the Avant-Garde.” Wide Angle 8.3–4 ( 1986 ): 63 –70. Hacking...
differences (2007) 18 (1): 87–127.
Published: 01 May 2007
... in this process of engagement. The recording of reality in the “topicals,”14 travelogues, and newsreels that constituted a large part of early cinema (and that remained widely popular) came to be supplanted after 1907...
differences (2020) 31 (1): 1–35.
Published: 01 May 2020
... consuming—calls to view an account of time that has, since the emergence of classical cinema in the early twentieth century, connected cinematic time to the temporality of modernity more broadly. As Mary Ann Doane writes, “[T]he time of classical cinema, clearly manufactured for the desires of the spectator...
differences (2018) 29 (3): 107–136.
Published: 01 December 2018
... stereotype (one that is not historically unique to South Asia, of course), namely, that actresses are fallen women, or “prostitutes” as actresses are often dismissed today (Chinniah 40–41; Ganti 94; Hardgrave 95; Seizer). This stereotype is linked to the fact that in the early decades of Tamil cinema most...
differences (2017) 28 (3): 67–92.
Published: 01 December 2017
... interpretations, whether technical, semiological, linguistic, psychoanalytic, genre-based, or otherwise. Very early on in Cinema 1 , for example, Deleuze states explicitly that his conceptual approach has nothing to do with representational ones (ix) and identifies the cinema as medium of expression rather than...
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differences (2018) 29 (1): 33–65.
Published: 01 May 2018
... of these films, the burden of the capitalist world on human life can be felt, and in that feeling, these films gain a political—even ecological—inflection. Figures 4 and 5 On the left, the body as seen through Lucia’s point of view in an early scene, and on the right, the cover of a newspaper through which...
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differences (2003) 14 (3): 89–111.
Published: 01 December 2003
... (Indiana University Press, 1987), Femmes Fatales: Feminism, Film Theory,Psychoanalysis (Routledge, 1991), The Emergence of Cinematic Time:Modernity, Contingency, the Archive (Harvard University Press, 2002), and has published a wide range of articles on feminist film theory, sound in the cinema...
differences (2015) 26 (3): 116–141.
Published: 01 November 2015
... in early twentieth-century Shanghai drew intensively, for example, on the notion of retribution from Buddhist tradition that was already widely accepted among Chinese audiences before the emergence of cinema culture; from the cultural capital of popular fiction through the adaptation of the novels...
differences (2001) 12 (3): 101–127.
Published: 01 December 2001
... Western critics writing about early Japanese cinema have well described how filmmakers such as Mizoguchi Kenji, Mikiso Naruse, and Ôzu Yasujirô offered radical perspectives on space, time, and subject in a filmic syntax different...
differences (2008) 19 (1): 32–70.
Published: 01 May 2008
... Cinema: A Critical Reader . Ed. Michele Aaron. New Jersey: Rutgers up, 2004 . 41 -52. Deleuze, Gilles. Cinema 2: The Time-Image . Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: u Minnesota p, 1989 . ———. Masochism: An Interpretation of Coldness and Cruelty . Trans. Jean McNeil. Together...
differences (2010) 21 (1): 109–123.
Published: 01 May 2010
..., due to the then prominence of the linguistic turn and to a Kojèvian reading of Hegel that shaped whole bodies of thought: the structuralism of Lévi-Strauss’s anthropology; the psychoanalysis of early Lacan...
differences (2013) 24 (3): 127–159.
Published: 01 December 2013
... and Institutional Change in Early Hollywood (University of Illinois Press, 2010) and Love Rules: Silent Hollywood and the Rise of the Managerial Class (University of Minnesota Press, 2003). john marx is professor of English at the University of California-Davis and editor for British and Anglophone...
differences (1989) 1 (3): 88–107.
Published: 01 November 1989
... such objectification as the standard treatment for female bodies in the cinema; equally familiar are the many critiques, deriving so often from Laura Mulvey's seminal article, "Visual Pleasure and Narrative Cinema," which tie this objectification to the sadistic male gaze, to the structure of filmic diegesis itself...
differences (2010) 21 (2): 73–108.
Published: 01 September 2010
.... Ann Arbor: u of Michigan p, 1995 . Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema . Bloomington: Indiana up, 1988 . Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor . Chicago: u of Chicago p, 1999 . Smith, Paul...