Chapters in this book

1. Frontmatter i
2. Contents vii
3. Section I. Cinema as Reflective Form
4. 1 Cinematic Reflection 3
5. 2 Cinematic Self- Consciousness in Alfred Hitchcock’s Rear Window 23
6. Section II. Moral Variations
7. 3 Devils & Angels in Pedro Almodóvar’s Talk to Her 49
8. 4 Confounding Morality in Alfred Hitchcock’s Shadow of a Doubt 67
9. Section III. Social Pathologies
10. 5 Cinematic Tone in Roman Polanski’s Chinatown: Can “Life” Itself Be “False”? 99
11. 6 Love & Class in Douglas Sirk’s All That Heaven Allows 117
12. Section IV. Irony & Mutuality
13. 7 Cinematic Irony: The Strange Case of Nicholas Ray’s Johnny Guitar 147
14. 8 Passive & Active Skepticism in Nicholas Ray’s In a Lonely Place 171
15. Section V. Agency & Meaning
16. 9 Vernacular Metaphysics: On Terrence Malick’s The Thin Red Line 203
17. 10 Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers 231
18. Acknowledgments 257
19. Works Cited 259
20. Index 265