Frontmatter

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. Acknowledgments xiii
5. Introduction: Naive Film Criticism 1
6. Part One. V. F. Perkins
7. 1 Film as Film in the Twenty-First Century 19
8. 2 V. F. Perkins and the Redescription of Films 41
9. Part Two. Stanley Cavell
10. 3 “Not Yet the Last”: On a Paragraph by Stanley Cavell 65
11. 4 Cavellian Reflections on Privacy, Consent, and Expression in Ildikó Enyedi’s On Body and Soul (Teströl és lélekröl) 89
12. 5 (Re)producing Marriage: Stanley Cavell and Paul Thomas Anderson’s Phantom Thread 107
13. 6 Experience, Skepticism, and Idolatry in Stanley Kubrick, Nicholas Lash, and Stanley Cavell 129
14. Part Three. Figurations
15. 7 The Shape of It All: Priorities and Completeness in Nicole Brenez’s Work on Abel Ferrara 151
16. 8 Rupture, Suture, Nietzsche: Impossible Intersubjectivity in Ridley Scott’s Alien 171
17. 9 Hypnosis-Images: Indiscernibility and Hypnotic Agency in Gilles Deleuze’s Heart of Glass 195
18. Part Four. Tarkovsky and Reichardt
19. 10 “You Can’t Imagine How Terrible It Is to Make the Wrong Choice”: Faith, Agency, and Self-pity in Andrei Tarkovsky’s Stalker 217
20. 11 Kelly and Andrei in the Zone 241
21. 12 “A Fair Curve from a Noble Plan”: Kelly Reichardt’s Certain Women 249
22. Notes 275
23. Works Cited 303
24. Filmography 317
25. Index 321