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(p. 601) Index
(p. 601) Index
Absolutism, computationalism and, 520
Abstract art, 43
Abu Ghraib images, 151–52
Academic study: celebrity studies and, 189, 194, 201–2;
classical film theory and, 48;
media culture and, 4–5;
Accommodation, film and media studies pedagogy and, 536
Ackerman, Chantal, 108
Acland, Charles, 461
Action images. See Chinese action images, postmodernity and
Actors: Chinese action images and, 369–70;
early cinema and, 196;
the work of stardom and, 202–5;
wu xia films and, 370
Adamson, Andrew, 437
Adaptations: of computer and video games, 235;
copyright and fair use, 558–59;
direct adaptations, 239–40;
indirect adaptations, 240–43;
of other media's capabilities, 243–44
Addictions and Subtractions (Gavira), 468
Administrative structures, computationalism and, 518–19
Adoring Audience, The (Lewis), 207
Advertising: 24 and, 314–15, 324n8;
computers and, 509;
cross-promotion and, 335–36;
digital media and, 177;
photography and, 168;
soft affiliations and, 344;
technological advances and, 308
Aesthetic forms, Latin American media and, 469–71
Africa, film industry in, 271
After Theory (Eagleton), 40
Aldrich, Robert, 98
Alea, Tomás de, 475
Alexander, Karen, 210
Alexandrov, Grigori, 57
“Ali—The Whole Story,” 563–64
All About Lily Chou-Chou (Iwai), 418
Allá en el Rancho Grande (Fuentes), 491
Allen, Richard, 66–67
Allen, Robert, 190
Allen, Woody, 8
Almodóvar, Pedro, 545
Alonso, Lisandro, 473
“Alternative” culture, textual analysis and, 268
Althuserian Marxism, 530
Altman, Robert, 11
Alvaray, Luisela, 465–66
Alvey, Mark, 337–38
Ambassador of America in Natural Colors, The (el-Tilmissani), 496
“Ambiguous Ecologies: Stardom's Domestic Mise-en-Scène” (Dixon), 206
America (Baudrillard), 105
American Family Association, 7
American Lung Association, 264
American Medical Association, 263–64
American Mutoscope & Biograph Co. v. Edison Mfg. Co. (1905), 558–59
“An American View” (Greenberg), 41
Ana and the Others (Murga), 473
Anarchy, 134
Anatomy of Dependence, The (Doi), 393
Anderson, Aaron, 369
Anderson, “Bronco Billy,” 199
Anderson, Perry, 530
Anima Mundi Animation Film Festival, 478
Annie Hall (Allen), 8
Anti-intellectualism, 92
Antitrust suits, 301
Appadurai, Arjun, 272–73
“Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema” (Baudry), 62
Apparatus theory, 61–64, 65;
analytical film theory and, 66–67;
feminist film theory and, 67;
film theory and, 66;
Gilles Deleuze and, 72
Araújo, Joel Zito, 475
Architecture, montage and, 55
Argentina: digital media and, 448;
documentary films and, 476;
high-definition television (HDTV) and, 459;
Hollywood films and, 458;
Latin American media and, 454;
textual analysis and, 275–76;
World War II and, 491
Argentina Latente (Solanas), 476
Aristotle, genres and, 236
Armella, Carlos, 476
Arriaga, Guillermo, 479
Art, film as: film and media studies pedagogy and, 530;
film genre theory and, 227;
film theory and, 49–50;
Frankfort School and, 14;
Art of the Cinema (Kuleshov), 54
Ash, Timothy Garten, 151
Ashes of Time (Wong), 374
Asian diaspora, 421
Asian film, digital culture and, 414–21
Associated Press, the, 175
Association of Independent Video and Filmmakers, 572
Attitude markers. See hedges and attitude markers
Audience competence, media conglomeration and, 357
Audience research, media celebrity and, 207–8
Audiences. See spectators
Aufderheide, Pat, 571–573
Auteur-structuralism, 530
Authorship: aura and, 32, 33, 34;
“behind-the-scenes” style television shows and, 354;
Chinese action images and, 376;
digital media and, 31;
media celebrity and, 197;
media conglomeration and, 340;
sound techniques and, 56
Automobiles, computationalism and, 517
Avant-garde films: commerce and, 69;
conventions of filmmaking and, 28;
film and media studies pedagogy and, 531;
non-auratic cinema and, 32–33;
Soviet Union and, 56;
visual narratives and, 25
Avid Technologies, 449
Baby's Meal, The (Lumière), 92
Badiou, Alain, 50
Balaban and Katz Theater Corporation, 300
Baldwin, James, 210
Bañeros (Ledo), 460
Banks, Miranda, 337
Barnauw, Erik, 101–2
Barthélemy, René, 294
Batchen, Geoffrey, 158
Bauche, Vanessa, 479
Baudry, Jean-Louis, 62
Bayoumi, Muhammad, 494
Bazin, André: apparatus theory and, 63;
cinematic realism and, 59–60;
contemporary scholarship and, 103;
French New Wave and, 98;
Italian neorealism and, 96–97;
montage and, 55;
performative realism, 108;
television and, 288;
terminology, differences in, 101;
virtual reality and, 29
Bean, Jennifer, 212
Beginning and End (Ripstein), 475
Benet, Ricardo, 470–71
Ben Hur, copyright and fair use, 559
Benigni, Roberto, 543
Berg, Charles Ramirez, 492
Berger, Lee, 18
Berman, Saul J., 315
Bernal, García, 479
Bernard, Tom, 18
Bertillon, Alphonse, 166
Best practices, fair use and, 571–76
Better Tomorrow II (Woo), 384
Bias of computation, 510
Bicycle Thief, The (De Sica), 277
“Bicycle Thief” (Bazin), 92
Bielinsky, Fabian, 476
Bielstein, Susan, 573
Bijker, Wiebe, 293
Biograph, 198
Birthrate, Japanese, 399–400
Bize, Matías, 472
Black, Joel, 107–8
Black-and-white photography, digital media and, 176
Blade Runner (Scott), 417
Blind Director, The (Kluge), 140
Blockbuster Video, 493–94
Blog entries, 244
Blow-Up (Antonioni), 90
Blum-Byrnes Accords, 9
Blurred Boundaries: Questions of Meaning in Contemporary Culture (Nichols), 107
Boddy, William, 293
Bolivia, 455
Bolivia (Caetano), 469
Bordwell, David: Christian Metz and, 64;
cognitive film theory, 66;
film theory and, 39–40;
Grand Theory and, 38–39;
wu xia films and, 370
Bose, Derek, 427
Boxer Rebellion, 383
Boyle, Danny, 228
Bram Stoker's Dracula (Coppola), 269
Brand identities, media conglomeration and, 349–50
Bresson, Robert, 65
British Film Institute, 529
British Stars and Stardom (Babington), 208
Britton, Andrew, 205
Broadcast Decency Enforcement Act (2005), 7
Buckland, Warren, 18
Buenos Aires International Independent Film Festival, 470
Buena Onda Films, 463
Buffy the Vampire Slayer, 337
Buñuel, Luis, 468
Burning of the Red Lotus Monastery, 368
Burning with Desire (Batchen), 158
Bus 174 (Padilha), 476
Buyyala, Prashant, 437
Cagney, James, 203
Cahiers du cinéma: André; Bazin and, 59;
apparatus theory and, 61–62;
classical film theory and, 47;
suture theory, 65
Cahn, Edward, 566
Camcorders, 149
Camera Lucida (Barthes), 160
Camera techniques: aura and, 32;
conventions of filmmaking and, 27;
digital media and, 450;
horror films and, 405
Campaign Against Censorship (India), 441
Campanella, José, 476
Campbell v. Acuff-Rose Music, Inc. (1994), 570
Cansino, Margarita Carmen. See Hayworth, Rita
Caouette, Jonathan, 72–73
Capitalism: 24 and, 316–17;
China and, 387;
film theory and, 41;
media conglomeration and, 332–33;
postmodernity and, 366;
realism and, 104–5;
Carlin, George, 7
Carrera, Carlos, 447
Cartesian rationalism, 514
Cartoon Network, 234
Casetti, Francesco, 49
Cassavetes, John, 108
Castration, threat of, 68
Categorization. See textual categorization
Causality, film and, 48
Cavalcanti, Alberto, 116
Cavell, Stanley, 100
Ceausescu, Nicolae, 146–47
Celebrity and Power: Fame in Contemporary Culture (Marshall), 195
Celebrity studies. See media celebrity
Censorship: Catholic Church and, 10;
Gilda (Vidor) and, 278;
media conglomeration and, 349;
Middle Eastern film industry and, 498;
pirated films and, 420;
television and, 302;
wu xia films and, 368
Central do Brasil (Salles), 447
“A Certain Tendency of the French Cinema” (Truffaut), 47
César, Ines de Olivera, 473
Chahine, Yousef, 494
Chalone, César, 479
Chanan, Michael, 476
Chance, cinematic realism and, 61
Chang Cheh, 369
Change, media and, 3–4
Charles, John, 368
Chartier, Roger, 261
Cheang, Shu Lea, 418
Chen Kaige, 387
Chess programs, 238
Chijona, Gerardo, 475
Chikushi, Tetsuya, 394
Chile, 454
Chinese action images, postmodernity and: bardic wu xia films, 375–77;
epics and counterepics, 373–75;
martial arts culture and, 365–68;
pristine nationhood and, 377–81;
“refining” the action image, 368–71;
Chinese Connection, The, 383
Ching Siu Tung, 374
Choice theory, 540
Christianity, evangelical, 515
Churning, media conglomeration and, 351
Cimino, Michael, 11
Cine-Brechtians, 100
Cinefex Workshop, 416
Cinema 1: The Movement Image (Deleuze), 72
“Cinema and Suture” (Oudart), 65
Cinemanía, 462
Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde (Gunning), 93
“Cinema of interactions,” 35
Cinematic realism. See realism
Cinematics, video games and, 240–41
Cinephilia, apparatus theory and, 63
Ciotat, La (Méliès), 29
Citizenship, computationalism and, 515–16
Civil War, U.S., 169–70
Claiming the Real (Winston), 102
Claims to Fame: Celebrity in Contemporary America (Gamson), 195
Classical Hollywood Cinema, The (Bordwell, Staiger, and Thompson), 64
Classic realist text (CRT), 99
ClearType, 550
Clothing, 278
Clover, Carol, 405
Cochran, Bob, 310–11
Cognition, study of, 514
Cognitive film theory, 66
Columbia, 454
Commercial success: Alexander Kluge and, 140–41;
Harun Farocki and, 144;
news media and, 168;
photography and, 162;
political documentary and, 128
Committed documentary, the, 118–19
Communication, transparent immediacy and, 26–27
Community of inquiry, 536
Comolli, Jean-Louis, 61
Computational sovereignty, 512–14
Computational utopianism, 516–18
Computer and video games: aura and, 33;
conventions of filmmaking and, 27–28;
cross-promotion and, 337;
direct adaptations and, 239–40;
film adaptations of, 235;
remediation strategy and, 23–26;
Computer consultants, 519–20
Computer editing, 450–52
Computer engineering, 520
Computer industry, India and, 436
Computer models, 519
Computers, cultural studies and, 508–9;
the bias of computation, 510;
computational politics, 511–12;
computational sovereignty, 512–14;
computational utopianism, 516–18;
development of calculation and, 518–19;
instituting computers, 519–22;
rationalism and, 514–16
Computer technology, Eastern and Central European revolution and, 148–49
Concentration camps, 143
Conceptual stretching, globalization and, 485
Concine, 464
Conglomeration. See media conglomeration
Conservativism, computationalism and, 514
Conspiracy, media and, 14
Constitution, U.S., copyright and fair use, 560–61
Constructivist psychology, 536
Consumption: film genre theory and, 237;
globalization and, 488;
media celebrity and, 207–9;
textual analysis and, 269
Contemporary scholarship, realism and, 103–9
Continuity editing, 542–43
Contrapuntal sound films, 57
Control, need for, 320–21
Conventions: cognitive film theory and, 66;
computer and video games and, 23;
Indian cinema and, 434–36;
Japanese horror films and, 391–92;
origins of film conventions, 26–27;
of photography, 159;
wu xia films and, 375–76
Cook, David, 106
Coolie (Desai), 435
Coordinadora Latinoamerica de Cine y Commumcacion (CLACPI), 452
Coppola, Francis Ford, 11
Copyright: about fair use, 560–68;
best practices of fair use, 571–73;
critiquing fair use, 568–69;
“Documentary Filmmakers’ Statement of Best Practices on Fair Use,” 574–76;
principles of, 557–60;
structural meaning of fair use, 569–71
Copyright Act (1870), 558
Copyright Act (1978), 561
Copyright clearance, documentary films and, 571–72
Cordero, Sebastián, 471
CORE. See student-centered learning (CORE)
Corman, Roger, 566
Cosmatos, George P., 315
Costello, Michael, 237
Costs: digital cinema and, 432–33;
digital film distribution and, 463;
digital media and, 449;
high-definition television (HDTV) and, 458–59;
international film circulation and, 486;
postproduction and, 453;
of video games, 235
Courbet, Gustave, 167
Court TV, 567
Craven, Wes, 409
Creativity, media conglomeration and, 340
Crewdson, Gregory, 178
Crimean War, 169
Crime of Father Amaro (Carrera), 447
“Crimes of the Commune” (Appert), 171–72
Critical proofs, 357
Critical reflexivity. See reflexivity
Critical self-representation. See industrial reflexivity and critical self-representation
Criticism: apparatus theory and, 63, 66;
art criticism, 43;
film theory and, 39;
hybrid film genres and, 235–36;
television shows and, 308–9;
textual analysis and, 263;
traditional media education and, 528
Cronenberg, David, 105
Cross-referencing, electronic textbooks and, 553
Crouching Tiger, Hidden Dragon (book, Wang), 367
CRT. See classic realist text (CRT)
Crying Game, The (Jordan), 545
Cubitt, Sean, 554
Cultural capital, media conglomeration and, 332
Cultural diversity: Chinese action images and, 372–73;
Cultural imperialism, international coproductions and, 338
Cultural influence: computer and video games, 22;
computer and video games and, 24;
film and, 21;
textual analysis and, 262;
of United States, 486–87;
United States and, 499
Cultural legitimacy, media conglomeration and, 347–48
Cultural literacy, photography and, 159
Cultural practices, technological advances and, 289
Cultural redemption, photography and, 161
Cultural references, to Gilda (Vidor), 277–78
Cultural responsiveness, media conglomeration and, 341
Cultural studies: the bias of computation, 510;
computational politics, 511–12;
computational sovereignty, 512–14;
computational utopianism, 516–18;
computers and, 508–9;
development of calculation and, 518–19;
instituting computers, 519–22;
media studies and, 15;
rationalism and, 514–16
Cultural Studies (Grossbery, Nelso, and Treichler), 508
Culture, American: film theory and, 40–41;
media celebrity and, 193;
media conglomeration and, 340;
media culture and, 5–8;
realism and, 107
Culture and Environment (Leavis and Thompson), 528
“Culture Industry, The” (Adorno and Horkheimer), 193
Customary usage, copyright and fair use, 569–70
Customer satisfaction, media conglomeration and, 351
“Cuteness.” See kawaii style
Cut scenes, 30
Cycles of the Heavenly Dragon (Jin), 379
Daguerreotypes, 162
Dances with Wolves, 269
Daughters of the Wind, 475
David, Jacques-Louis, 167
Dayan, Daniel, 65
Decentralization, society and, 517–18
Declarative knowledge, 535
Decolonization, China and, 386–87
Decontextualization, textbooks and, 543
DeCurtis, Anthony, 328
Deep and surface learning: about, 537–39;
case study, 542–47;
comprehension and, 537–39;
curriculum and, 539–41;
student-centered learning (CORE), 541–42
Deep Learning for a Digital Age (Weigel), 535
Deer and the Cauldron, The (Jin), 380
Deficit financing, 337–38
Defining genres, film genre theory and, 228–29
Definitive Elvis, The, 564–65
DeLillo, Don, 108
Delluc, Louis, 50
DeMille, Cecil B., 495
Denny, Reginald, 567
Deregulation, of media. See government regulation
Derrida, Jacques, 40
De Sica, Vittorio, 9
Détourne, of images, 134
Devil Finds Work, The (Baldwin), 210
Dewey, John, 536
Dhanwani, Rashmi, 437
Dhingra, Tushar, 434
Dialectic of Enlightenment (Adorno and Horkheimer), 13–14
Dialects, sound techniques and, 57
Diamond, Hugh, 165
Dian xue effect, 376
Diarios de motocicleta (Salles), 474
Diasporic cultural identities, 273
Diaz Torres, Daniel, 475
Dick, Kirby, 572
Dick, Philip K., 105
Dictionary of New Media, 550
Die Hard, 235
Die Patriotin (Kluge), 130
Digital animation, 415
Digital cameras, portability of, 71
Digital delivery systems, 244
Digital intermediate (DI) technology, 455
Digital intermediates, 335
Digital media: Asian film and, 414–21;
aura and, 33–35;
caméra-stylo and, 72–73;
convergence and, 17;
Eastern and Central European revolution and, 145;
externalizing risk and, 335;
film theory and, 70;
future of filmic narrative and, 21–36;
globalization and, 500;
media celebrity and, 213;
medium specificity and, 70–71;
photography and, 158–80;
piracy and, 420;
postmodernism and, 106;
“quality television” and, 322–23;
technological advances and, 289;
transparent representation and, 28–31;
visual narratives and, 25–26;
volitional mobility and, 314
Digital theory, 70–71
“Digital World Picture, The” (Geuens), 70
Dignity of the Nobodies (Solanas), 476
Direct adaptations, 239–40
Direct cinema, 117
Disclosures, stages, 357
Discord, sound techniques and, 57
Distance, television and, 288
Distinct properties, new media and, 239
Distribution, new media and, 148–49;
Abu Ghraib images and, 151–52;
Eastern and Central European revolution and, 145
Distribution, of films. See film distribution
Distribution systems, 339
Diversity, cultural. See cultural diversity
Dixon, Simon, 206
Documentary films: 1920s and 1930s, 121–28;
conventions of filmmaking and, 27;
digital media and, 72–73;
early cinema and, 296;
Eastern and Central European revolution and, 145–52;
fiction and, 107;
post-World War II era, 129–44;
Doi, Takeo, 393
Domestic audiences, Latin American media and, 468
Domestic coproduction, 337–38
Doordarshan television company, 423
Dorling Kindersley, Ltd., 562–63
Dot-com crisis, 345
Dowaliby, James, 338–39
Down to Earth (Hall), 277
Dramatists, sound techniques and, 57
Drifters (Grierson), 125
Drug discovery, 521
Drug use, 264
Dreyer, Carl Theodor, 132
Duck Season (Eimbcke), 475
Dudow, Slatan, 116
Dune (Lynch), 493
Duong, Senh, 414
Duplicate negatives, externalizing risk and, 335
Durant, Alberto, 455
DV. See digital video (DV) films
DVDs and videotapes: electronic textbooks and, 547;
filmic narrative and, 34–35;
Indian cinema and, 430;
Spanish-language films and, 493–94;
textual analysis and, 267
Eakins, Thomas, 295
Early cinema, realism and, 91–94
Easkins, Emily, 40
Eastland, James O., 7
Eaton, Jana, 533
Eclectic realism, 104
Economic conditions: computationalism and, 516;
film and media studies and, 12–13;
globalization and, 487–88;
power elites and, 511–12
Economic incentives, film production and, 272
Economic reductionism, 267
Economies of scale, 331
Ecuador, 451
Edelman, Bernard, 559
Edison v. Lubin (1903), 557–58
Editing techniques: cinematic realism and, 60;
digital editing, 416;
early cinema and, 296;
film genre theory and, 237;
film theory and, 53–56;
Latin American media and, 450–52;
wu xia films and, 370
Educational tools, 510
“Education and Criticism” (Rohdie), 530–31
Efficiency, computers and, 520
Eimbcke, Fernando, 475
Eisenstein, Sergei: the committed documentary and, 119;
film theory and, 49–50;
montage and, 54–56;
sound techniques and, 57
Elderly capitalism, 393
Eldred v. Ashcroft (2003), 561
E-learning. See electronic textbooks
Electronics companies, television and, 297–98
Electronic textbooks, 547–53
Ellis, John, 191
Elvis Presley Enters., Inc. v. Passport Video (2003), 564–655
Embedded computers, 516–17
Embrafilme, 464
Emerging Pictures, 463
Emotional range, films and, 46
Empiricism, film theory and, 41–42
Empowerment. See power
“End of TV as We Know It, The: A Future Industry Perspective, 306–7
“En mass celebrities,” 212
Entertainment news shows, 336
Enthusiasm (Vertoz), 122–23
Epic and Empire (Quint), 373
Episodic structure, television and, 310
Escalante, Amat, 473–74
Escapism, political documentary and, 125
Ethnicity. See race and ethnicity
European radicalism, documentary films and: 1920s and 1930s, 121–28;
about, 114–21;
Eastern and Central Europe, 145–52;
post-World War II era, 129–44
European radicalism, photography and, 165–66
Evita (Parker), 276
Examples, textbooks and, 545–46
Exceptionalism, wu xia films and, 378
Exhibition sector. See cinemas
EXistenZ (Cronenberg), 105
Expanded horizons model, textbooks and, 548
Experimentation, with images, 151
Exposure times, photography and, 166
Externalizing risk, media conglomeration and, 334–40
Façade Renovation Grant program, 272
Faces, close-ups and, 52
Fahrenheit 9/11 (Moore), 439
Fair use: about, 560–68;
best practices of, 571–73;
critiquing, 568–69;
“Documentary Filmmakers' Statement of Best Practices on Fair Use,” 574–76;
structural meaning of, 569–71
Falicov, Tamara, 466–67
Fall of the Romanov Dynasty, The (Shub), 126
Famous Players Film Company, 199
“Fanboy,” 419
Farid, Samir, 497
Farnsworth, Philo, 294
Feature films. See films
Federal Trade Commission (FTC), 330
Feminism: 24 and, 309, 311;
Japanese horror films and, 403;
textual analysis and, 275;
wu xia films and, 379–80
Fenton, Roger, 169
Fetishism, 64
Feuer, Jane, 310
Fight Club (Fincher), 105–6
Figures, textbooks and, 543
Film, shooting on, 453
Film aesthetics, 116–17
Film and media studies: current scholarship in, 262–66;
Gilda (Vidor), 267–74;
multidisciplinary scholarship and, 267–74;
textual analysis and, 261
Film and media studies pedagogy, 527, 553–54;
deep and surface learning, 535–47;
education in Great Britain and the United States, 529–32;
electronic textbooks, 547–53;
traditional textbooks and, 534–35
Film and Video Festival of Indigenous Peoples, 462
Film: A Psychological Study, The (Munsterberg), 48
Film Art: An Introduction (Bordwell and Thompson), 64
Film as Art (Arnheim), 95
Film-based interpositives, 335
Film critics. See criticism
Film Culture, 532
Film distribution: Alexander Kluge and, 140–41;
Harun Farocki and, 144;
media conglomeration and, 331–32;
niche markets and, 438;
political documentary and, 128;
simultaneity and, 299;
Film industry: apparatus theory and, 62–63;
film studies and, 11;
genres and, 234–35;
international, 271–73;
media conglomeration and, 356;
Middle Eastern film industry and, 495;
piracy and, 414;
post-World War II era and, 6;
television and, 300–302
Film production: Asian film and, 416–17;
“behind-the-scenes” style television shows and, 353–54;
computers and, 509;
digital media and, 17;
domestic coproduction, 337–38;
externalizing risk and, 335;
film studies and, 11;
globalization and, 486;
media conglomeration and, 355;
Middle Eastern film industry and, 495;
textual analysis and, 273
Film projectors, 173
Films: copyright and fair use, 557–76;
cross-promotion and, 335–36;
cultural influence of, 262–63;
direct adaptations and, 239–40;
feature films, 331;
media conglomeration and, 355;
textual analysis and, 267;
the work of stardom and, 205
Film spectatorship theory, 242
Film theory: apparatus theory and, 66;
film genre theory and, 224–53;
filmmakers and, 49–58;
film studies and, 10–11;
medium specificity and, 38–79;
in post-World War II era, 58–73;
realism and, 84–109;
television and, 286–87
Final Cut Pro, 450
Final Fantasy, 235
Final Solution (Sharma, Rakesh), 440
Financing: deficit financing, 337–38;
globalization and, 485–86;
Middle Eastern film industry and, 496–97
Finzan (Sissoko), 545–546
Firearms, wu xia films and, 383–84
First-shift programming, 350
Flaxman, Gregory, 72
Fleisher, Richard, 11
Fleming, Victor, 229
Flichy, Patrice, 292
Focus on the Family, 7
Folsom v. Marsh (1841), 570
Fonda, Jane, 131–32
Fondo de Inversión y Estímulo al Cine Mexicano (FIDECINE), 466
Forensic science, photography and, 176
Formalization, computers and, 511
For Marx (Althusser), 129
Foucault, Michel Paul, 292
Fourth wall, theater and, 46
Fox TV. See News Corporation/Fox
Freedom (Alonso), 473
French cinema: Alexander Kluge and, 137;
Frenzy of Renown (Braudy), 191
Fresh Kill (Cheang), 418
Freund, Giséle, 182m8
Friday the 13th (Cunningham), 409
Friedkin, William, 369
Friedman, Thomas, 485
Fuentes, Fernando de, 491
Fukasaku, Kinji, 11
Fuller, Samuel, 98
Fulong Gong, 385
Fundamentalism, film theory and, 40
Gabler, Neal, 107
Galavisión, 457
Gale, Wayne, 188
Game shows, 322
Gamson, Joshua, 195–96
García, Gael, 447
Gardner, Andrew, 169
Gaspin Jeff, 329
Gaviria, Victor, 468
Gellar, Sarah Michelle, 409
Gellhorn, Martha, 128
Gender, identity politics and, 211–12
Generation X. See shinjinrui (Generation X)
Generic innovation. See genres
Genre deconstruction, 328–29
“Genre difference,” 237
Genres: changing reference points to, 245–46;
film genre theory and, 228–29;
horror films, 391–409;
Indian cinema and, 434–36;
Japanese horror films and, 408–9;
media conglomeration and, 351–52;
new media and, 237–44;
Genre theory. See film genre theory
Geographical positioning systems (GPS), 517
Gettysburg, Battle of, 170
Ghost in the Shell (Oshii), 417
Gilbreth, Frank, 295
Gillespie, Marie, 273
Ginsburg, Fay, 102
Globalization: 24 and, 319, 324n11;
China and, 387;
Chinese action images and, 366;
international coproductions, 338–39;
labor and, 339–40;
Latin American media and, 490–94;
media culture and, 12;
Middle Eastern film industry and, 494–98;
postmodernity and, 365–66;
Godard, Jean-Luc: classical film theory and, 47;
European radicalism and, 117;
French New Wave and, 98;
Harun Farocki and, 144;
Kiarostami, Abbas and, 106;
media studies and, 9
The Godfather (Coppola), 11
Goebbels, Joseph, 298
Gomery, Douglas, 190
Gondry, Michael, 106
Gongadze, Georgiy, 150
González-Rubio, Pedro, 476
Good Morning America, 566
Google, 521
Gorin, Jean-Pierre, 131–33
Gorky, Maxim, 44
Gourmont Rémy de, 44
Government regulation: Egyptian film industry and, 497, 498;
post-World War II era, 6–7;
television and, 301
Governments: Alexander Kluge and, 138–39;
media conglomeration and, 341–43;
political agendas and, 120
GPS, 517
Grade inflation, 533
Gramsci, Antonio, 15
Grand Syntagmatique, 64
Grand Theft Auto video games, 23
Grand Theory, 38–39
Graphical user interface (GUI), 30–31
Great Britain: documentary films and, 116;
film and media studies and, 265–66;
film and media studies pedagogy in, 529–32;
Hollywood films and, 269;
international coproductions and, 338;
political documentary and, 124–25;
realism and, 104
Great Train Robbery, The (Porter), 245
Great Wall Motion Picture Studio, 262
Grier, David Alan, 518
Gross, Peter, 146
Grossberg, Lawrence, 15
Grudge, The (Shimizu), 409
Grupo Chaski, 461–62
Grupo Clarín, 457
Guantanamera (Alea and Tabío), 475
Guatemala, 451
Guattari, Félix, 515
Guerin, Frances, 18
Guess Who's Coming to Dinner? (Kramer), 210
Hadamovsky, Eugen, 298
Hallam, Julia, 104
Hamaca Paraquaya (Encina), 454
Hamm, John Christopher, 380–81
Hampton, Benjamin, 194
Hanson, Curtis, 545
Harrelson, Woody, 188
Harry Potter and the Sorcerer's Stone, 434
“Harvest of Death” (O'Sullivan), 170
Hastie, Amelie, 322
Hays, Will, 262
HBO, 353–54
Heaven's Gate (Cimino), 11
Hegelian Master-Slave dialects, 510
Hemingway, Ernest, 127
Hermosillo, Humberto, 472
Hero (Zhang), 384–85
Heterogeneity, 56
“High culture.” See art, film as
High-end cinemas, in India, 431
Hill, Tim, 437
Himpele, Jeff, 270
Hip Hop: Beyond Beats and Rhymes (Hurt), 572–73
Historical documents, photographs as, 170–73
Historical hieroglyphics, 142
Historicism: apparatus theory and, 66;
film theory and, 73;
media celebrity and, 194–95;
realism and, 86
History: computer and video games and, 250–52;
film and media history, 11–12;
Guy Debord and, 180;
of television, 289–93
History of the Non-Fiction Film, A (Barnouw), 101–2
History painting, 177–78
“Hitchcocko-Hawksians,” 13
Hitchcock's Films (Wood), 530
Hitomi (character), 406
Hofheinz v. AMC Productions, Inc. (2001), 566
Hofheinz v. Discovery Communications (2001), 566
Hollander, Richard, 18
Hollywood films: Asian film and, 421;
Egyptian film industry and, 498;
feminist film theory and, 150;
globalization and, 499;
piracy and, 420;
star texts and, 206;
stylistic practices and, 489
Holy Girl, The (Martel), 473
Homes, of celebrities, 206
Homework (Hermosillo), 472
Homework (Kiarostami), 106
Hong Kong International Film Festival, 418
Horizontal integration, 330
Horror films: Audition, 400–404;
genre and, 228;
genre studies and, 408–9;
Ju-On, 404–8;
Ringu, 397–400;
women in Japanese films, 391–97
Hour of the Furnaces, The (Solanas), 476
Hours Go By, The (César), 473
House Committee on Un-American Activities, 6
Ho Yuk—Let's Love Hong Kong (Yau), 418
Huillet, Danièle, 129
Human computers, 518–19
Hurt, Byron, 572
Hurwitz, Leo, 129
Huston, John, 493
Hypermedia. See hypertext systems
Hypertext systems, literary works and, 29–30
Ibermedia, 464
IBM Institute for Business Value, 306–7
Ideological state apparatus (ISA), 99
Illegal downloads, 264
Image: A Guide to Pseudo-Events in America, The (Boorstin), 107
Images: Alexander Kluge and, 135–36, 136–37, 139–40;
cinematic realism and, 59–60;
digital media and, 159;
experimentation with, 151;
French New Wave and, 99;
Harun Farocki and, 141–43;
history and, 166–67;
Marxism and, 145;
masculinity and, 318;
media celebrity and, 205;
new media and, 151–52;
photography and, 165;
political agendas and, 118–21;
realism and, 88
Image tracks, 99–100
“Imaginary signifiers,” 63
Imports and exports. See international film circulation
In Bed (Bize), 472
Independent cinema, commerce and, 69
Independent Feature Project, 572
Independent Film Channel (IFC), 573
Independent Motion Pictures (Imp), 198
India, nationalism and, 377
Indian cinema, 271–72;
Asian film and, 417;
censorship and, 439–42;
digital film production and, 436–38;
globalization and, 489;
industry structure and policy, 425–29;
the Internet and, 419;
masala film and, 434–36;
viewing experiences and, 430–34
Indirect adaptations, 240–43
Individual control genres, 232
Industrial artifacts, 357
Industrial economy, 332–33
Industrial flexibility. See post-Fordist flexibility
Industrial Light and Magic, 174
Industrial reflexivity and critical self-representation, 352–58
Inert knowledge problem, 531–32
Information cascades, 353
Innis, Harold, 510
Inou, Rie, 392
Input boundaries, 334
Instituto Mexicano de Cinematografía (IMCINE), 465
Interactivity: 24 and, 314–15;
computer-generated special effects and, 25;
conventions of filmmaking and, 27–28;
narrative and, 31;
visual narratives and, 26
Interdisciplinary studies. See multidisciplinary scholarship
Interiority, computationalism and, 515
Intermediality, 300–302
International coproductions: Asian film and, 415;
externalizing risk and, 338–39;
globalization and, 485–86;
International Documentary Association, 572
International film circulation: Asian film and, 414–15, 419, 420–21;
Indian cinema and, 433–34;
Japanese horror films and, 409;
language differences and, 58;
media celebrity and, 199–201;
Internet, the: 24 and, 311–12;
computationalism and, 522;
computer and video games and, 238–39;
India and, 424;
intellectual property rights and, 17;
Latin American media and, 449;
“liveness,” and, 313–14;
television viewing and, 308–9;
textbooks and, 554
Interpretive flexibility, television and, 297–300
Intertextuality, 327
In the Land of Tutankhamun (Bayoumi), 494
In the Mood for Love (Wong), 367
In the Pit (Rulfo), 478
Intimacy, sense of, 45–46
Intimate Stories (Sorin), 471–72
Introduction to Documentary (Nichols), 102
Iraq, 497
Iraq: The Borrowed Kettle, 387
ISA. See ideological state apparatus (ISA)
Israel, 496
Italian cinema, 199
It Conquered the World (Corman), 566
Iwai, Shunji, 418
Jackson, Janet, 346
Jackson, Peter, 23
Jackson v. Warner Bros., Inc. (1997), 568
Jacobs, Lewis, 194
Jang Sun-Woo, 418
Japanese horror films: Audition, 400–404;
genre studies and, 408–9;
Ju-On, 404–8;
Ringu, 397–400;
women in, 391–97
Japón (Reygadas), 473
Jaszi, Peter, 18
Jaws (Spielberg), 11
Jenkins, Charles Francis, 292
Jenkins, Henry, 243
Jet Li, 369
J-horror. See Japanese horror films
Jia Zhangke, 421
Jing Ke, 386
Jing Wong, 380
Jin Yong: authorship and, 376–77;
epics and counterepics, 373–74;
heroes and, 386;
nationalism and, 377–78;
Jobs, Steve, 345
Jones, Tommy Lee, 447
Jonze, Spike, 106
Jordan, Neil, 545
Journals, film theory and, 62
Juan, I Forgot I Don t Remember (Rulfo), 470
Juran, Nathan, 566
Jurassic Park films, 24
Kapoor, Kareena, 424
Karnad, Girish, 440
Kawaii style: backlash against, 396;
Kefauver, Estes, 6–7
Kentridge, William, 177–78
Kershenblatt-Gimblett, Barbara, 120
Kershner, Irvin, 371
Khakee (Santoshi), 417
Khan, Shah Rukh, 419
Kiarostami, Abbas, 106–7
Kilgore, Harley, M., 6–7
Kinetic poetry, 29–30
King, Barry, 204
King, Scott Benjamin, 317
Kingpin, 336
Kinocast, 462
Kino-Eye (Vertov), 51
Kittler, Friedrich, 247
Kracauer, Siegfried: cinematic realism and, 59, 60–61;
the committed documentary and, 119;
contemporary scholarship and, 103;
digital media and, 70;
early cinema and, 91–93;
media studies and, 13;
photography and, 160–61;
terminology, differences in, 101;
Walter Benjamin and, 87
Kragh-Jacobsen, Soren, 106
Kramer, Stanley, 210
Kühle Wampe (Dudow, Brecht), 130
Kuleshov effect, 53–54
Kulkarni, Ashish, 437
Kung fu. See martial arts
Kung Fu Hustle (Chow), 384
Kwan, Stanley, 418
L. A. Confidential (Hanson), 545
Labor: 24 and, 316–17, 323;
computationalism and, 521;
externalizing risk and, 339–40;
film and media studies and, 13;
images and, 143;
Japan and, 395;
masculinity and, 318;
Mexico and, 492;
political documentary and, 151;
the work of stardom and, 202–5
Lacanian psychoanalysis, 530
Lady from Shanghai, The (Welles), 277
Laemmle, Carl, 198
Land of the Pharaohs, The (Hawks), 495
Lange, David, 569
Language: Alexandre Astruc and, 71–72;
apparatus theory and, 64;
European radicalism and, 134;
film genre theory and, 227;
Languages: Indian cinema and, 425;
international film circulation and, 58;
Latin American media and, 490–91
Lan Yu (Kwan), 418
Laocoon; or, the Limits of Painting and Poetry (Lessing), 42
Large-screen televisions, 301
Larkins, Brian, 271
Laspina, James, 553
Latin American media: box office returns and, 460;
cable and satellite television, 457–58;
computer editing and, 450–52;
digital production and, 453–55;
film industry and, 463–67;
genres and, 474–79;
postproduction facilities, 455–56;
stylistic practices and, 468–74;
technological advances and, 448–50;
television and, 458–60
Latina S. A., 462
Lawrence, Florence, 198
Lazarfeld, Paul, 8
Learning styles, textbooks and, 549
Leavis, F. R., 528
Lebanon, 498
“Lecture on Realism, A” (Williams), 101
Lee, Ang, 366
Legacy data, 517
Legend of the Zu Warriors, The (Tsui), 368
Léger, Fernand, 50
Leila (Bayoumi), 494
Leone, Sergio, 241
Lesser, Wendy, 317
Lessig, Lawrence, 568–69
Lessing, Gotthold Ephraim, 42
Leung, Tony, 376
Levring, Kristen, 106
Lewis, Jon, 6
Lewis, Juliette, 188
Lewis, Lisa, 207
Liang Qichao, 385
Liang Yusheng, 378
Liberalism, computationalism and, 514
Libidinal economy, 62–63
Life and Nothing More (Kiarostami), 106
Life the Movie (Gabler), 107
Lim, Bliss Cua, 404
Limitations, of photography, 171
Lin, Brigitte, 374
Literature: Chinese action images and, 367–68;
copyright and fair use, 559;
hypertext systems and, 29–30;
imperialism and, 373;
realism and, 99–100;
social classes and, 120;
transparent immediacy and, 31;
Loayza, Marcos, 453
Location, filming on: copyright and fair use, 559–60, 575–76;
Egyptian film industry and, 498;
Middle Eastern film industry and, 495
Location, textual analysis and, 275–76
Looking, Harun Farocki and, 142
Los Angeles News Service, 566–67
Los Angeles News Service v. KCAL-TV (1998), 567
Los Angeles News Service v. Reuters Television International (1998), 567
Los muertos (Alonso), 473
Love by Mistake (Chijona), 475
Lowe, David, 295
Lucia, Lucia (Serrano), 471
Luke, Carmen, 534
Lund, Kátia, 447
Lupino, Ida, 211
Lusted, David, 527
“Luster of Capital, The,” 316
Lutze, Peter, 140
Lynch, David, 493
MacDonald, Dwight, 7–8
MacFarlane Report, the, 535–36
Machiavelli, Niccolo, 514
Macondo Cine Video, 462
Madden NFL, 238
Madison, Michael, 570
Major Film Theories, The (Andrew), 91
Mak, Peter, 417
Make Room for Television (Spigel), 302
Makeup, Gilda (Vidor) and, 278
Making Meaning: Inference and Rhetoric in the Interpretation of Cinema (Bordwell), 39
Malcolm X (Lee), 269
Management structures: computationalism and, 511, 518–19;
legacy affiliations and, 345;
media corporations and, 334
Manet, Edouard, 167
Man from U.N.C.L.E., The, 277
Mankekar, Purnima, 377
Map of Sex and Love, The (Chan), 418
Marchetti, Gina, 18
Marcuse, Herbert, 193
Margulies, Ivone, 108
Marketing: brand identities and, 349–50;
genres and, 234–35;
Indian cinema and, 427–28;
information economy and, 316–17;
international film circulation and, 269–70;
Japan and, 394–95;
studio system and, 333;
Marquand, Richard, 371
Marshall, Meryl, 339
Marshall, P. David, 195–96
Martel, Lucrecia, 473
Martial arts culture, nostalgia and, 365–68
Martial arts novels. See wu xia novels
Marxism: documentary films and, 115, 119, 132–33;
European radicalism and, 121;
film and media studies pedagogy and, 531;
Harun Farocki and, 141;
images and, 145;
Mashment, Margaret, 104
Massacre des dominicains d'Arcueil (Appert), 172
Masscult, 7–8
Mass culture: Alexander Kluge and, 137, 140–41;
capitalism and, 134;
classical film theory and, 45;
cultural criticism and, 236–37;
photography and, 159–60;
spectators and, 150–51
Mass marketing. See marketing
Mass Ornament: Weimar Essays, The (Kracauer), 88
Master and Commander: The Far Side of the World (Weir), 269–70
Masterman, Len, 531
Masuda, Toship, 11
Matrix Online, 240
Matrix Reloaded (Wachowski and Wachowski), 434
The Matrix: Revolutions (Wachowski and Wachowski), 240
Mature capitalism, 393
May, Lary, 206
Mayakovsky, Vladimir, 44
Mayer, J. P., 263
McG, 370
McLean, Adrienne, 204
McMahan, Alison, 554
McPherson, Tara, 19
Meaning, photography and, 159
“Mechanists,” 514
Media anthropology. See anthropological studies Media capabilities, adaptations of, 243–44
Media capital, 272
Media celebrity: celebrity studies, 188–96, 201–2, 212–14;
cultural influence of film and, 22;
documentary films and, 131–32;
global star systems, 199–201;
identity politics, 209–12;
origins of the star system, 196–99;
star texts, 205–9;
the work of stardom, 202–5
Media conglomeration: business practices and, 356;
externalizing risk and, 334–40;
industrial reflexivity and critical self-representation, 352–58;
Japan and, 393–94;
Latin American media and, 457;
media culture and, 12;
post-Fordist flexibility and, 332–34;
“public service” persona and, 347–48;
reflexivity and, 327–32;
“responsive” persona and, 340–47
Media convergence, 289
Media Worlds: Anthropology on New Terrain, 268–69
Medicine, photography and, 164
Medium of the Video Game, The (Wolf), 231
Medium specificity: apparatus theory and, 63;
concept of, 42–43;
film and media studies pedagogy and, 540;
history of film theory and, 38–79;
media celebrity and, 191;
montage and, 55;
realism and, 89;
Sergei Eisenstein and, 56;
Siegfried Kracauer and, 88;
silent films and, 95;
television and, 313–14
Meirelles, Fernando, 447
Melodrama: 24 and, 309, 310–15;
French cinema and, 9;
Indian cinema and, 435;
Japanese horror films and, 402–3;
masculinity and, 315–21;
“quality television” and, 321
Memento (Nolan), 34
Merchandising, cross-promotion and, 337
Metacognition, 536
Metalanguage, 99–100
Metatexts, 332
Metz, Christian: apparatus theory and, 62, 62–64, 65, 66;
feminist film theory and, 67;
film theory and, 73
Meyerhold, Vsevelod, 44
Miami Beach Enterprise Zone, 272
Miami Vice, 317
Michaux, Oscar, 210
Microcinemas, 461–62
Microsoft Corp., 521
Midcult, 8
Midway Arcade Treasures, 251–52
Miike, Takashi, 403
Military-industrial thinking, 511
Military uses, television and, 298
Miller, Frank, 246
Miller, Jacques-Alain, 65
Mills, C. Wright, 511
Mind, the, classical film theory and, 48
Minghella, Anthony, 542
Minimalism, 471–74
Miniseries, wu xia films and, 375
Minnelli, Vincente, 246
Minority Report (Spielberg), 269
Minter, Mary Miles, 192
Miracle Fighters (Yuen), 368
“The Miracle” (Rossellini), 10
Mirror stage, the, 64
Misogyny, Japanese horror films and, 403
Miss Universo, 461
Mitchell, W.J.T., 145
Miyazaki, Hayao, 417
Mob-casts, media conglomeration and, 352
Moeran, Brian, 394
Mongolia, Chinese action images and, 378
Monopolies, media conglomeration and, 330
Monsieur Kalergis (Disdéri), 163
Monster Communications v. Turner Broadcasting System (1996), 563–664
“Montage of Attractions, The, 55
Moral reality, political documentary and, 124–25
Morse, Samuel, 291
Motion pictures. See films
Motion studies, photography and, 173
Moulin Rouge!, 269
Movie theaters. See cinemas
“Moving pictures,” photography and, 172–73
Moving Picture World, The, 197
Mug shots, 166
Multicultural tiering. See programming difference and multicultural tiering Multidisciplinary scholarship: celebrity studies and, 189, 201–2;
textual analysis and, 260–61
Multitasking, industrial reflexivity and critical self-representation, 352
Mumbai International Film Festival, 440
Murayama, Masao, 393
Murga, Celina, 473
Murukami, Ryu, 400
Mushtaq, Aarshid, 438
Music, racism and, 5–6
Music videos, aura and, 34
M. Vitet, pétroleur (Appert), 172
MVS Multivisión, 457
“Myth of Total Cinema, The” (Bazin), 96
Names, The (DeLillo), 108
Narboni, Jean, 61
Naremore, James, 205
Narrative: 24 and, 310;
classical, 69–70;
digital media and, 29–30;
epics and counterepics, 373;
film genre theory and, 237;
interactivity and, 31;
Latin American media and, 468–74;
media celebrity and, 207;
new media genres and, 239;
realism and, 93;
star texts, 205–9;
technological advances and, 244;
Narrative television, 308
Narrowcasting. See niche markets
National Alliance for Media Arts and Culture, 572
National cinemas: film theory and, 49;
media celebrity and, 199–201;
Middle Eastern film industry and, 494;
sound techniques and, 58
National Film Development Corporation (India), 426
National Salvation Front, 146
Nelson, Cary, 15
Neo-Bazians, 100
Neoformalist tradition, 64
New Argentine Cinema, 467
Newell, Mike, 23
New Left Review (NLR), 530
New media: cultural studies and, 508–9;
Eastern and Central European revolution and, 149–50;
film genre theory and, 224–53;
political documentary and, 151–52;
public events and, 174;
New Queer Cinema, 419
News Corporation/Fox, 12, 327;
contingent affiliations and, 346–47;
Latin American media and, 457;
legacy affiliations and, 345;
News from Afar (Benet), 470–71
News media: 24 and, 312, 313;
cross-promotion and, 336;
entertainment news shows, 336;
India and, 423–24;
television and, 299
New York Times, The, 40
Nicaragua, 451
Niche markets: Asian film and, 415–16;
cross-promotion and, 337;
cultural diversity and, 348–49;
Indian cinema and, 437–38;
Nicholson-Smith, Donald, 129
Nigerian film industry, 271
Night of the Living Dead (Romero), 228
Nihilism, digital media and, 70
Nollywood, 271
Non-auratic cinema, 32–33
Nondiscrete objects, 3–4
Nonfiction. See documentary films
Nonrival quality, of film, 488
Nonverbal signification. See gesture
Normalization of conglomeration, by media corporations, 340–48
North by Northwest, 318
Not One Less (Zhang), 545
Novaro, Maria, 462
Novels. See literature
Novy lef filmmaking, 126
Nowell-Smith, Geoffrey, 530
Nursery schools, progressive education and, 533
Objectivity, photography and, 168
October 18, 1977 (Richter), 177
Office of the Coordinator for Inter-American Affairs, 491
Ohmae, Kenichi, 485
Once Upon a Time In China (Tsui), 383
One Dimensional Man (Marcuse), 193
One Laptop per Child (OLPC), 522
Online communities, 510
On-screen metatexts, 332
OpenNet.org, 148
Opera, Chinese, 369
Orange Revolution. See Ukraine
Orgeron, Marsha, 18
Oshii, Mamoru, 417
O Sullivan, Timothy, 170
Oudart, Jean-Pierre, 65
Our Lady of the Assassins (Schroeder), 468
“Package system,” 338
Padilha, Jose, 476
Padley, Marcus, 457
Painting: art criticism and, 74n12;
aura and, 14;
film theory and, 50;
political documentary and, 124;
social classes and, 120
Palahniuk, Chuck, 106
Palm power, 367–68
Palm Springs International Film Festival, 479
Panavison cameras, 335
Paper Swordsmen (Hamm), 380–81
Paramount Corporation, 300
Parents Television Council, 7
Passion of Joan of Arc, The (Dreyer), 132
Pattern-Oriented Approach to Fair Use (Madison), 570
Patwardhan, Anand, 439–40
Pavlovian reflexology, 55
Payne Fund, 262
Pay-per-view, 301
Pearl Harbor (Bay), 269
Peckinpah, Sam, 247
Pedagogy. See film and media studies pedagogy
Pelayo, Alejandro, 465
Pencil of Nature, The (Talbot), 161
Pendakur, Manjunath, 18
Penley, Constance, 67
Perceptual immersion, 28–29
Perceptual realism, 103
Performative realism, 108
Performing identity, 348
Permissions, a Survival Guide: Blunt Talk About Art as Intellectual Property (Bielstein), 573
Permissive behavior, media celebrity and, 213–14
Perón, Eva, 276
Perón, Juan, 276
Personal computers, 516
Personal empowerment, cultural studies and, 508
Phantascopes, 292
Philosophical aesthetics, 42
Photogénie, 50–52
Photographic index, the, 86–90
Physiognomic chords, 52–53
Piaget, Jean, 536
Pickford, Mary, 190–91
Picture Personalities: The Emergence of the Star System in America (deCordova), 195
Picture-Play (fan magazine), 192
Pinch, Trevor, 293
Pineyron, Marcelo, 476
Piscator, Erwin, 116
Pixar, 345
Pixote (Babenco), 468
Playfulness, Latin American media and, 451
Playing Swede (Torres), 475
Poetic realism, 124–25
Polgovsky, Eugenio, 476
Political agendas: apparatus theory and, 61–62, 62–63;
cinematic realism and, 61;
documentary films and, 118–21;
European documentary films and, 114–52;
fiction and, 136;
film theory and, 51–52;
Political discourse: computational politics and, 511–12;
Egyptian film industry and, 497–98;
film theory and, 40–41;
Middle Eastern film industry and, 496
Political sources, globalization and, 486–87
The pope's bathroom (Chalone), 479
“Popular and the Realistic, The” (Brecht), 98–99
Popular Arts, The (Hall and Whannel), 529
Popular culture: copyright and fair use, 574–75;
genre deconstruction and, 328–29;
Indian cinema and, 436;
Japanese horror films and, 392–93;
media studies and, 14;
progressive media education and, 528–29;
psychology and, 262–63
Population growth, 429
Portillo, López, 493
Portraiture, 162
Postmodernism, realism and, 103–8
Postmodernity, Chinese action images and: bardic wu xia films, 375–77;
epics and counterepics, 373–75;
martial arts culture and, 365–68;
pristine nationhood and, 377–81;
“refining” the action image, 368–71;
wu xia films and, 371–73;
wu xia films political imaginary, 382–87
Powdermaker, Hortense, 263
“Powerless Elite, The” (Alberoni), 190
Powerpuff Girls, 337
Practical-intermedial approaches, to game genres, 239
Preer, Evelyn, 210
Price dumping, 488
Prieto, Rodrigo, 479
Prime Time Justice, 567
Princess Mononoke (Miyazaki), 417
Print works, 191
Prisons, documentary films and, 451
Pristine nationhood, 377–81
Private lives, of actors, 198
Privileged relationships, realism and, 84–86
Procedural knowledge, 535
Production infrastructure, 449
Product placements, 264
Profitability: box office returns, 460, 463, 463–64, 488;
computationalism and, 521;
Latin American media and, 460
Progressive media education. See traditional and progressive media education
Project Greenlight/Stolen Summer, 353–54
Projecting Illusion (Allen), 66–67
Promise, The (Kaige), 387
Protectionism, 486
Przyblyski, Jeannene M., 18
Pseudo-events, 199
Pseudo-stars, 193
Psychoanalysis: apparatus theory and, 62–63, 64;
classical film theory and, 46;
cognitive film theory and, 66;
film and media studies pedagogy and, 530;
media celebrity and, 207;
Psychology: classical film theory and, 48–49;
computationalism and, 515–16;
film and media studies pedagogy and, 536;
montage and, 54;
popular culture and, 262–63
Public Broadcasting Service (PBS), 573
Public events: contingent affiliations and, 346–47;
media celebrity and, 193;
media conglomeration and, 341–43;
photography and, 166–67;
Public goods, films as, 488
Publicity: media celebrity and, 197, 205–6, 213;
political documentary and, 127–28;
star texts and, 205
Public policy. See law and public policy
“Public service persona, media conglomeration and, 347–48
Public trustees, media corporations as, 341
Pyramid-Saimira Group, 433
“Queer Feeling When I Look at You, A” (Weiss), 211
Queers. See homosexuality
Race and ethnicity: China and, 388n16;
Gilda (Vidor) and, 277;
Indian cinema and, 427–28;
media celebrity and, 210;
Mexico and, 490;
textual analysis and, 275;
the work of stardom and, 204;
Radio B92, 147–48
Raiders of the Lost Ark (Spielberg), 240
Raimi, Sam, 434
Rain (Ivens), 126
Rain Network, 462–63
Ramani, R. V., 440
Ramayan (miniseries), 377
Ramoji Film City, 425
Rank, J. Arthur, 489
Ray, Nicholas, 98
Reading About Film, 550
Reading About New Media, 550
Reading Capital (Althusser), 129
Reading Television (Fiske and Hartley), 375
Realism: André Bazin and, 76n54;
documentary films and, 122;
early cinema and, 91–94;
European radicalism and, 121;
Joris Ivens and, 126;
Latin American media and, 469;
“new wave” films and, 97–100;
the photographic index and, 86–90;
plots and, 83;
post-World War II era film theory and, 58–59;
theoretical directions and, 100–109
Realism and Popular Cinema (Hallam and Mashment), 104
Realism and the Cinema: A Reader (Williams), 101
Reality: cinematic realism and, 107–8;
digital media and, 179;
documentary films and, 120–21;
Harun Farocki and, 142;
“Reality Effect,” 108
Reality Effect: Film Culture and the Graphic Imperative, The (Black), 107–8
Real-time images, 288
Rebella, Juan Pablo, 469
Reception studies, 150–51
Recession, Japanese, 395–96
Red Channels, 6
Redes (Muriel and Zinnemann), 470
Red River (Hawks), 228
“Refining” the action image, 368–71
Reflectionism, textual analysis and, 261
(p. 622)
Reflexivity: classical narrative and, 69–70;
externalizing risk and, 334–40;
industrial reflexivity and critical self-representation, 352–58;
media conglomeration and, 327–32;
post-Fordist flexibility and, 332–34;
programming difference and multicultural tiering, 348–52;
“public service” persona and, 347–48;
“responsive” persona and, 340–47
Regional theater, 57
Reiko Asakawa (character), 397–99
Relativism, 533
Relevance, of textual analysis, 273
Religious right, media culture and, 7
Renov, Michael, 102
Representational practices, borrowing. See remediation strategies
Representations, photography and, 179–80
Representing Reality (Nichols), 102
Research projects, film theory and, 39
Resident Evil: Apocalypse (Witt), 24
Responsive persona, 340–47
Resurrection of the Little Match Girl (Jang), 418
Reunion Especializade de Autoridades Conematograficas y Audiovisuales de Mercosur (RECAM), 454
Reuters, 175
Revenues, Egyptian film industry and, 497
Reverse motion, 51
Revolutionary movements, documentary films and, 115
Reygadas, Carlos, 473–74
Reynaud, Emile, 291
Rhythm and Hues, 437
Ricagno, Alejandro, 475–76
Richter, Gerhard, 177
Riefenstahl, Leni, 116
Ring, The (Suzuki), 397
Ring, The (Verbinski), 409
Ringgold v. Black Entertainment TV, Inc. (1997), 568
Rio Bravo (Hawks), 229
Riofilme, 465
Rites of Realism: Essays on Corporeal Cinema (Margulies), 108
Rivette, Jacques, 47
Road movies, 474–75
Roberts, Julia, 213
Robeson, Paul, 211
Rockefeller, Nelson, 491
Rodents (Cordero), 471
Rodgrigo D: no futuro (Gavira), 468
Rodriquez, Robert, 246
Roger Thornhill (character), 318
Rohdie, Sam, 530
Romanticism, 106
Romero, George A., 228
Roosevelt, Eleanor, 128
Rosemont Enters, Inc. v. Random House (1966), 569
Rose Seller, The (Gavira), 468
Ross, Murray, 202
Rosten, Leo, 194
Rotten Tomatoes Web site, 414
Run Lola Run (Tykwer), 545
Sadat, Anwar, 498
Sailor Moon, 395
Samant, V. G., 437
Samson and Delilah, 496
Samuel, Raphael, 529
Samurai movies, 371
Sanchez, Jorge, 462
Sandoval v. New Line Cinema Corp. (1998), 568
Sangre (Escalante), 473–74
Santaolalla, Gustavo, 479
Santoshi, Raj Kumar, 417
Sarris, Andrew, 532
Sartori, Giovanni, 485
Satellite communication systems, 432
Satellite film distribution, 462–63
Satellite television. See cable and satellite television
Sathyam Cinemas, 431
Saudi Arabia, 494
Saussure, Ferdinand de, 227
Schatz, Tom, 337–38
Schaub, Joseph, 18
Schickel, Richard, 202
School of Film and Television (Cuba), 479
Scientific research, photography and, 161
Scott, Tony, 336
Scream, The (Craven), 409
Screen Actors Guild, 203
Screen density, 429
Screen Education, 531
Screening Culture, Viewing Politics (Mankekar), 377
Screen languages, 313
Screen production, definition of, 267
Screens, signification and, 366
Screwball comedies, 229
Scriptwriters, 56
“Seeing Stars” (Staiger), 194–95
Seiko, Matsuda, 395
Sekula, Allan, 165
Self-esteem movement, 533
Self-reflection, media conglomeration and. See industrial reflexivity and critical self-representation
Semantics, computer and video games and, 250
“Semantic/Syntactic Approach to Film Genre, A” (Altman), 226
Semel, Terry, 345
Sensory overload, 134–35
Serbia, 118
Serrano, Antonio, 471
Sexism, film and media studies pedagogy and, 532–33
Sexual identity: Asian film and, 418;
film and media studies and, 266;
Gilda (Vidor) and, 274–75;
Indian cinema and, 438;
media celebrity and, 211;
Shao Lin Soccer (Chow), 372
Shao Lin Temple (Zhang), 366–67
Shapiro, Meyer, 43
Sharif, Omar, 494
Shaw, Run Run, 417
Shawshank Redemption, The (Darabont), 277–78
Shetty, Manmohan, 432–33
Shibata (character), 402
Shichuan Zhang, 368
Schindler's List (Spielberg), 545
Shôjo (young Japanese females), 392, 408;
Audition (Miike) and, 400–401;
Ju-On (Shimizu) and, 406–7;
Ringu (Miike) and, 397–400
Short films, 418
Shot techniques, 50–53
Shyamalan, M. Night, 11
Signification, screens and, 366
Signifiers, apparatus theory and, 63
Signs and Meaning in the Cinema (Wollen), 530
Silent Hill, 241
Silverman, Kaja, 65
Sima Qian, 386
Simpson, Gary, 302
Simulacra and Simulation (Baudrillard), 105
Sin City (Rodriquez), 246–47
Singapore film industry, 415
Sissoko, Cheick Oumar, 545
Siu-Tung Ching, 380
16-millimeter Film, 69
The Sixth Sense (Shyamalan), 11
Skov, Lise, 394
Slavery, photography and, 165
Slide, Anthony, 194
Sliver (Noyce), 269
Smoking, in films, 264
Snyder, Timothy, 151
Soap operas. See melodrama