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Breaking the Frame: Breaking the Frame

Breaking the Frame

Breaking the Frame

Index

Individual films are listed under the director’s name if the director is mentioned in the text. Foreign language titles are listed in their original language, followed by English language distribution titles, if any.

Allen, Woody: female artistic persona in Interiors, 70, 88, 90-91

Altman, Robert: Quintet, 18, 20, 25-27

Anouilh, Jean: Antigone, 25

Antonioni, Michelangelo, 80

Apophrades, 58, 59, 60, 65

Aristophanes (the grammarian), 23, 145n

Arranger in film: defined, 3, 77; origin of term, 149n; female identity of, in some films, 89, 100

Artaud, Antonin: theater of cruelty, 93, 94

Askesis, 58, 60, 64

Astruc, Alexandre: caméra stylo (camera pen), 6

Austin, J. L., 70, 98

Bachelor machine. See Machine célibataire

Bakhtin, Mikhail, 8

Bal, Mieke, 83

Bardot, Brigitte, 122

Barthes, Roland: on Garbo, 122, 129; on photography, 54, 57; on texte lisible and texte scriptible (readerly and writerly text), 8, 48, 50; on écriture blanche (white writing), 9, 18; on Queneau, 7

Baum, Frank (author of The Wizard of Oz), 115

Bazin, André: co-founder of Les Cahiers du cinema, 6; on origins of cinema, 123; on photography, xv, 54, 57; on la politique des auteurs (the politics of film authorship), 19; on realism, 19, 36, 64; on relation of film to death, 132

Bergman, Ingmar: female artistic persona in Persona, 70, 88, 91-94

Bertolucci, Bernardo: Le Dernier tango à Paris (Last Tango in Paris), 18, 20-21, 27-29

Blanchot, Maurice, 54

Bloom, Harold: on the anxiety of influence, 36, 52, 58-60, 64; masculine terms of the anxiety of influence, 69

Bluestone, George, 78

Booth, Wayne C., 3

Bordwell, David, 94

Bovenschen, Sylvia, 142

Branigan, Edward, 94

Bresson, Robert, 6

Breton, André: author of Nadja, 60; founder of surrealism, 8, 25; theory of the androgyne in, 108

Brooks, Peter, 64, 110

Browne, Nick, 79-80

Buñuel, Luis: and surrealism, 139; Belle dejour, 129-31; Cet obscur objet du désir (This Obscure Object of Desire), 140; Tristana, 80-82; Un chien andalou (Andalusian Dog), 15, 139, 140

Butor, Michel, 7

Calvino, Italo, 52, 54, 62, 64

Caméra stylo. See Astruc, Alexandre

Carroll, Lewis, 10

Casanova (Chevalier de Seingalt): as character in La Nuit de Varennes, 40-50; as writer of memoirs, 44

Cavell, Stanley, 18, 21-31 passim, 154-55n

Chambers, Ross, 48, 127, 129, 139

Chaplin, Charles: Modern Times, 141; films of, 11

Chatman, Seymour, 3

Chirico, Giorgio de. See De Chirico, Giorgio

Cinéma vérité: as element in New Wave films, 6

Citizen Kane (Orson Welles), xiv

Cixous, Hélène, 107

Clair, René: Entr’acte, 11

Classical Hollywood style: aesthetics of, 49; diegetic space in, 79; seamless editing, xv

Clément, Catherine, 107

Cocteau, Jean: influence of surrealism on, 61, 63; influence on the New Wave, 6; influence on Truffaut, 37, 52; Orphée (Orpheus), 27, 53-65 passim; Le Testament d’Orphée (The Testament of Orpheus), 58, 59-60

Condensation, 14, 116-18

Conrad, Joseph, 30

Cook, Albert, 126

Coppola, Francis Ford: Apocalypse Now, 18, 19, 30-31

De Chirico, Giorgio, 60-62

De Lauretis, Teresa, 138, 142

De L’Isle-Adam, Villiers: “Véra,” 52, 54; L’Eve future (Eve of the Future Eden), 124-39 passim

Deneuve, Catherine, 108, 122-40

Derrida, Jacques, 24

De Sica, Vittorio, 6

Diegetic character: defined, 83

Diegetic space: defined, 4, 70; and women characters, 88, 89

Displacement, 14, 116-18

Doane, Mary Ann, 134

Dr. Strangelove (Stanley Kubrick), 30

Dual narration: in film, 70, 73, 77, 78-82; in literature, 79; and spectator identification, 78, 79, 94

Duchamp, Marcel, 123, 127, 129

Duras, Marguerite: Nathalie Granger, 70, 98-100. See also Hiroshima mon amour

Eco, Umberto, 152-53n, 155n

Eliot, T. S., 30

Episteme, 36

E. T., 108, 109-111, 116-21, 142

Expressionism, xiv, xvi

Extradiegetic information in film, 4

Faulkner, William, 85

Fellini, Federico: 8 1/2, 30, 94

Female star: as automaton, 123-32; fetishized, 132-33; as object of sadism, 133-34; and sexual politics in film, xvi, 122-40

Femininity: as masquerade, 152n; in Wizard of Oz, 111-16; negative stereotypes of, xvi; in Freud, 152n

Fetishization, 132

Fetterly, Judith, 142

Figurative representation, 13-15, 116-18

Fischer, Lucy, 150n

Foucault, Michel, 24, 36, 38-44

Fowlie, Wallace, 148n

Frame-breaking, xiv

Frame theory, xiii-xiv, 137, 144n

Freud, Sigmund: and surrealism, 25; on death, 64; on family romance, 115; on femininity, 152n; on identification, 121; on operations of the unconscious (condensation, displacement, figurative representation), 13-14, 110; on play in children, 109; Totem and Taboo, 30; view of women, 107, 128

Frye, Joanne, 143

Gado, Frank, 150n

Gance, Abel: Paradis perdu, 58; influence on Truffaut, 52

Gascon-Vera, Elena, 146n

Gaslight (George Cukor), 133-34

Gender identity: distinct from sexual identity, 107; and self-concept, xvi

Genet, Jean, 129

Gerzon, Mark, 142

Godard, Jean-Luc: Vivre sa vie (My Life to Live), 82-83, 84; mentioned, 6

Goffman, Erving, 137

Greek philosophy and logos, 21-25

Greenberg, Harvey, 152n

Guillén, Claudio, 25

Handke, Peter: Die Linkshändige Frau (The Left-handed Woman), 70, 98, 100-103

Hansen, Miriam: on Apocalypse Now, 30; on Valentino, 134

Hayman, David, 3, 149n

Heath, Stephen, 7, 61, 97, 98, 133, 143

Hegel, G. W. F., 23, 25

Hermann, Claudine, 88

Herzog, Werner: Aguirre, der Zorn Gottes (Aguirre, the Wrath of God), 30

Hiroshima mon amour, 7, 13, 70, 85-87, 103

Hitchcock, Alfred: North by Northwest, 79; Psycho, 58; Stage Fright, 85

Hoffman, E. T. A., 131

Identification: across gender lines, 142; as play, 109; depth of, 94; in dual narration, 78, 94; in psychology, 107; Freud on, 121; Lacan on, 128; Metz on, 121; related to voyeurism, 109-110; role in character formation, 116, 121; in individual films, 9, 73, 82, 93, 118

Immasculation, 142

Intertextuality, xiv, 111, 118-19

Ionesco, Eugene, 25

James, Henry, 52, 55, 60

Jarry, Alfred, 10, 124

Johnson, Mark, xv

Joyce, James, 3, 85

Kafka, Franz, 124

Kaplan, E. Ann, 100

Kawin, Bruce, 150n

Keaton, Buster, 10, 11

Keller, Evelyn Fox, 108, 123

Klein, Melanie, 112, 114-15, 151

Koch, Gertrud, 138, 142

Kohlberg, Lawrence, 107, 110, 117

Kracauer, Siegfried, 54, 57, 78, 139

Kristeva, Julia, 8

Kuhn, Annette, 139

Labarthe, André, 16

Lacan, Jacques: on identification, 128; on the self, 128-29

Lakoff, George, xv

Lang, Fritz: Metropolis, 123, 131

Language of film: definition, xv

Lauretis, Teresa de. See De Lauretis, Teresa

Lee, Spike: Do the Right Thing, 141

Léger, Franҫois: Ballet mécanique, 11

Liminality, 141

L’Isle-Adam, Villiers de. See De L’Isle-Adam, Villiers

Lowry, Malcolm, 79

Lumière brothers, 69

Machine célibataire (bachelor machine), 123-26, 133, 134, 136

Malle, Louis: documentary style in, 10; Les Amants (The Lovers), 12; L’Ascenseur pour I’échafaud, 12; Atlantic City, 9; L’lnde fantôme (Phantom India), 9; Pretty Baby, 9; Zazie dans le métro (Zazie in the Metro), 4, 6-18

Marker, Chris: La Jetée, 148n

Mars, Franҫois, 16

Masquerade: and film star, 129, 138; in femininity, 152n; and gender, 115

Méliès, Georges, 10, 69

Metadiegesis, 70

Metadiegetic information in film, 4

Metz, Christian: on fetishism, 132; on film language, 16; on film theory, 35; on identification, 121; on subjectivity, 78

Michelson, Annette, 153n

Mikesch, Elfi: The Virgin Machine, 156n

Mizoguchi, Kenji: Saikaku ichidai onna (The Life of Oharu), 72-73

Modleski, Tania, 103, 148-49n, 150n

Mulvey, Laura, 155n

Narration in film: levels of, 4; patriarchal slant of, 69; sexual politics of, 142

Narrator: defined, 3; in classical Hollywood film, 79; in dual narration, 73, 77; identified with camera position, 3, 83; impersonality of, 83; metadiegetic narrators, 85

Nouveau roman (New Novel), 6

Nouvelle vague (New Wave), 6

Ophuls, Max: Letter from an Unknown Woman, 73-77, 97

Orestes, 114-15

Orpheus, 36, 54

Ozu, Yasujiro, 102

Paine, Thomas: as character in La Nuit de Varennes, 39-46; author of The Rights of Man, 45, 46

Patriarchy in film narratives, 69

Performative: in Austin, 98

Performative space: defined, 98; and film sound, 100; and women characters, 103

Peterson, Wolfgang: Das Boot, 78

Phallic mother, 112

Phallocentrism in E. T., 11, 116-21

Phallocratic scripting in Wizard of Oz, 114

Piaget, Jean: on play, 109, 115; on stages of child development, 117; on symbolic thought, 110

Primal scene (in Wizard of Oz), 114

Poe, Edgar Allen, 52, 54, 124

Point-of-view shots in film: as mediating diegetic space through a character, 70; projective and reflective, 94; projective and tactile experience, 139; rarely emphasizing women characters, 69; Robbe-Grillet on, 78; and subjectivity, 70

Porter, Edwin S., 69

Proust, Marcel, 138

Psychoanalysis: birth of, contemporaneous to that of film, 69

Pygmalion, 35

Queneau, Raymond: in Truffaut’s La Chambre verte, 55-56; Gueule de Pierre, 15; Petite cosmogonie portative, 15; Saint Glinglin, 15; Za-zie dans le métro, 4, 6

Rapping, Irving: Now Voyager, 134

Realism. See Barthes, Roland; Bazin, André; Benjamin, Walter; Kracauer, Siegfried

Reified subject, 36

Renoir, Jean, 6

Representation and convention, xv

Resnais, Alain: L’Année dernière à Marienbad (Last Year at Marienbad), 7. See also Hiroshima mon amour

Restif de la Bretonne, Nicholas Edmé: as character in La Nuit de Varennes, 39-51; as author, 39, 48, 49-50

Robbe-Grillet, Alain: on point of view in film, 78; L’Année dernière à Marienbad (Last Year at Marienbad), 7; Les Gommes (The Erasers), 25

Rohmer, Eric, 6

Romanticism: described, 119; in E. T., 119

Ropars, Marie Claire, 42

Rossellini, Roberto, 6

Roussel, Raymond, 124

Sarraute, Nathalie, 7, 25, 35

Schank, Roger, 121, 138

Scola, Ettore: La Nuit de Varennes, 36, 38-51

Scott, Tony: The Hunger, 134

Screen character, 83

Screen space, 70, 88

Scripts: in cognitive theory, 110-11, 138; in life summaries, 137; allied with plans and goals, 121

Sennett, Mack, 10

Serres, Michel, 122-23, 124, 138

Sesame Street, 115

Sitney, P. Adams, 150n

Sollers, Philippe, 141

Sontag, Susan, 150n

Sophocles: Oedipus plays, 5, 18, 22-24

Spectatorship of women, 83

Spence, Donald, 113, 121

Spielberg, Steven. See E. T.

Stagecoach (John Ford), 79

Steene, Birgitta, 150n

Surrealism: and alchemical model of gender, 108, 139; chance, 9; in Cocteau, 61; and dream logic, xvi; and Freud, 25; and metaphor, 8; and the unconscious, 8. See also Breton, André

Sweezy, Paul, 153n

Texte scriptible. See Writerly text; Barthes, Roland

Thompson, Kristin, 94

Todorov, Tzvetan, 78

Transference (in identification), 142

Treut, Monika: The Virgin Machine, 156n

Truffaut, François: as actor in his own films, 64; La Chambre verte (The Green Room), 36, 44-65; Le Dernier metro (The Last Metro), 57, 132; L’Enfant Sauvage (The Wild Child), 52; Fahrenheit 451, 56; La Femme d’à coté (The Woman Next Door), 97; L’Histoire d’Adèle H (The Story of Adele H), 57; Jules et Jim, 56, 57; La Mariée était en noir (The Bride Wore Black), 56; La Nuit américaine (Day for Night), 59; La Peau douce (The Soft Skin), 58; mentioned, 6, 80

Varda, Agnes: and exploration of film space, 70; Cleo de 5 à 7, 90; Sans toit ni loi (Vagabond), 88, 89-90, 97

Velásquez, Diego: Las Meninas, 38-42

Verne, Jules, 124, 132

Vigo, Jean: L’Atalante, 27; Zéro de conduite (Zero for conduct), 10, 15, 119

Voss, Norine, 141

Voyeurism in film, 109

Walz, Eugene P., 58

Weill, Claudia: Girlfriends, 94, 96

Wells, H. G., 119

Wenders, Wim: Im Lauf der Zeit (Kings of the Road), 18, 19-20, 31

White, Hayden, 46

Whorf, Benjamin, xv

Williams, Linda, 134

Wizard of Oz (Victor Fleming), 96, 108, 109-116, 134, 142

World Apart, A (Chris Menges), 141

Wright, Barbara, 144n

Writerly text, 48, 50. See also Texte scriptible

Zazie dans le métro: intertextuality in, 13-15; operations of the unconscious in, 13-15. See also Malle, Louis; Queneau, Raymond

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