000			01657cam a2200253 i 4500
001			on1100425800
003			OCoLC
007			ta
008			210420s2020 ilua b 001 0 eng d
010			_a 2019014786
020			_a9780226672007 (pbk.)
020			_a022667200X (pbk.)
035			_a(OCoLC)1100425800 _z(OCoLC)1235879335
050			_aPN1993.5.U6 _bP57 2020
100	1		_aPippin, Robert B., _d1948-
245	1	0	_aFilmed thought : _bcinema as reflective form / _cRobert B. Pippin.
260			_aChicago : _bUniversity of Chicago Press, _c2020.
300			_a271 p., 32 unnumbered p. of plates : _bcol. ill.
504			_aIncludes bibliographical references and index.
505			_aSection I Cinema as reflective form -- Cinematic reflection -- Cinematic self-consciousness in Alfred Hitchcock's Rear Window -- Moral variations -- Section II Moral variations -- Devils and angels in Pedro Almodóvar's Talk to Her -- Confounding morality in Alfred Hitchcock's Shadow of a Doubt -- Section III Social pathologies -- Cinematic tone in Roman Polanski's Chinatown: can "life" itself be "false"? -- Love and class in Douglas Sirk's All That Heaven Allows -- Section IV Irony and mutuality -- Cinematic irony: the strange case of Nicholas Ray's Johnny Guitar -- Passive and active skepticism in Nicholas Ray's In a Lonely Place -- Section V Agency and meaning -- Vernacular metaphysics: on Terrence Malick's The Thin Red Line -- Psychology degree zero? the representation of action in the films of the Dardenne Brothers.
650		4	_aMotion pictures _zUnited States _xHistory and criticism.
650		4	_aMotion pictures _xAesthetics.
942			_2lcc _cBK
999			_c2552 _d2552