02584nam 22005174a 450 991077827350332120200520144314.00-8166-9927-5(CKB)1000000000481119(EBL)322596(OCoLC)476120203(SSID)ssj0000154787(PQKBManifestationID)11156431(PQKBTitleCode)TC0000154787(PQKBWorkID)10417131(PQKB)10978798(Au-PeEL)EBL322596(CaPaEBR)ebr10202553(OCoLC)437193735(MiAaPQ)EBC322596(EXLCZ)99100000000048111920060517e20061991 ub 0engur|n|---|||||txtccrFilm hieroglyphs[electronic resource] ruptures in classical cinema /Tom Conley, with a new IntroductionMinneapolis University of Minnesota Pressc20061 online resource (300 p.)Originally published: Minneapolis : University of Minnesota Press, 1991.0-8166-4970-7 Includes bibliographical references (p. 217-241) and index.Contents; Acknowledgments; Hieroglyphs Then and Now; Introduction; 1. The Filmic Icon: Boudu sauvé des eaux; 2. The Law of the Letter: Scarlet Street; 3. Dummies Revived: Manpower; 4. The Nether Eye: Objective, Burma!; 5. Facts and Figures of History: Paisan; 6. The Human Alphabet: La bête humaine; 7. Decoding Film Noir: The Killers, High Sierra, and White Heat; Epilogue; Appendix; Notes; IndexAt a time when traditional film theory privileged the purely visual, Film Hieroglyphs introduced a new way of watching film-examining the ways in which writing bears on cinema. Author Tom Conley gives special consideration to the points (ruptures) at which story, image, and writing appear to be at odds with one another. Conley hypothesizes that major directors-Renoir, Lang, Walsh, Rossellini-tend unconsciously to meld history and ideology. Graphic elements are seen as simultaneously foreign and integral to the field of the image. From these contradictions hieroglyphs emerge that mark a design Motion picture playsHistory and criticismMotion picture playsHistory and criticism.791.4309Conley Tom168200MiAaPQMiAaPQMiAaPQBOOK9910778273503321Film hieroglyphs3711336UNINA