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