...Laura Frost Copyright © Hofstra University 2006 Huxley’s Feelies: The Cinema of Sensation in Brave New World Laura Frost “JL T have just been, for the first time, to see and hear a picture talk,” Aldous Huxley writes in a 1929 essay called “Silence Is Golden...

..., the medicalized body becomes the metaphorical locus of a profound epistemological unease, and the interventionist apparatuses of medicine and of cinema become folded into a more general problematic of style. Whereas Eliot’s poem repeatedly breaks the frame of classical rhyme, meter, and structure in order...

...Timothy Bewes Copyright © Hofstra University 2007 E4I Against the Ontology of the Present: Paul Auster’s Cinematographic Fictions Tim othy Bewes In the “cinema” . . . man has lost his soul; in return, however, he gains his body...

... of the corpse), and about the ways in which those bodies are fash- ioned, (re)constructed, exhibited, and visually consumed. The ideological meaning of Hollywood cinema remains inextricably bound up in and mirrored by the burial rites of nearby Forest Lawn/Whispering Glades. And it is into this so-called...

..., and why, film functions as a narrative device in Ellison’s second novel. More broadly, how does cinema figure in Ellison’s evaluation of twentieth-century American race politics and in his insistence that art should function to align historical consciousness and democratic progress? From the start...

.... These theorists argue that formerly discreet media such as newspapers, television, cinema, advertising, design, and the internet are increasingly produced in convergent strategies and patterns, enveloping consumers of visual/aural culture in a seamless lifeworld of mediated signs. This wall of signs...

... about the book is how much more it offers. It also takes in music, advertising, cinema, tricksters, the art market, the mass marketing of reproductions, and, in a surprising but dazzling conclusion, books popularizing cognitive science and books about autism. Taken together, the case these explorations...

... of women as a fundamental aspect of Western art as well as of women’s perceptions of their own identities. 273 A. A. Markley And in “Visual Pleasure and Narrative Cinema,” Laura Mulvey argues that women are exploited as images in the classic films of Hollywood in order to sustain...

... manifestations of consumer and visual culture, such as the shop window display and the cinema, and in light of her concerns about race. Recent studies by Monica Miller, Daphne Brooks, and Grace Elizabeth Hale have increased our understanding of the connections among race, spectacle, and consumption...

... writing. Murray argues that H.D.’s hallucination of insects on a wall in Corfu, where she went to heal from the war’s trauma, demonstrates “the various threads of connection in [her] writing between images of half-finished insects, the aesthetic imperfections of early cinema, and the shadowy workings...

... optical impersonality to spur conversations about race and gender in modernist circles. Walter describes H.D.’s extension of optical science into the visual technologies surrounding cinema, which allowed her to develop the concept of “visual perception that creates the world rather than know[s...

...” between genetic and cinematic time, as theorized in Deleuze’s Cinema books (13). There Deleuze describes a shift from the “movement image,” in which space and time are organized according to the sensorimotor causality of the human body, to the “time image” of postwar cinema, in which movement...

... on individual texts. For example, a general statement such as “It isn’t unusual for popular writers to find their work routinely produced in other enter­ tainment fields, like cinema and theatre,” takes Mary Shelley’s Frankenstein as its example. The choice of an early nineteenth-century text opens up...

... from archival materials, I’ll trace the ways in which Baldwin, with the help of Hollywood cinema, thinks through the destinies of “binding” in various drafts of his debut novel. In these and later texts, one persistent target of his critique is the way in which society locks subjects into categories...

... the objects of its analysis in a transitional era when film was no longer a novelty and talkies were on the horizon. This was a moment when—as in the case of late Twain—narratives with little pretense of realism seemed both necessary and possible. Blyn uses Tom Gunning’s term “cinema of attractions...

... cultural assumptions in Britain and, indeed, many other parts of the world” (xii). More specifically, he argues that spy fiction (including cinema and television) mediates a nation’s perception of the “enemy” at any given period. Through a process of “faction”—a term Buckton borrows and adapts from...

.... Following her introduction explaining the “Cambodian Syndrome,” Schlund-Vials organizes her study into four chapters organized around the topics of memorials, cinema, life writing, and hip-hop, as well as an epilogue on performance art and poetry. She considers both the limitations of these cultural...

... Saler’s book has to do with its relationship to the Marxist traditions of cultural critique. A comparison to Miriam Bratu Hansen’s somewhat different account of modernity, in her posthumously published 501 Joel Burges Cinema and Experience: Siegfried Kracauer, Walter Benjamin...

... of cinema: Newman’s research uncovers the zoologist Walter Garstang’s (1922 : 100) assertion that “Ontogeny is not an animated cinema show of ancestral portraits” but something more akin to a magic show, as well as William James’s claim in 1897 that, as in Eliot’s and Woolf’s view of the mind, thoughts...

... representations, the danse macabre motif persists all the way to the twentieth century, down to Bishop’s generation and beyond—and not only in the rarified art cinema of the likes of Ingmar Bergman but even in animated shorts from the Disney Studio! These rich connections, and many others that are traced...