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Reflexivity in film and literature : from Don Quixote to Jean-Luc Godard /
by Robert Stam.
Ann Arbor, Mich. : UMI Research Press, c1985.
xiv, 285 p. : ill. ; 24 cm.
0835716074 (alk. paper)
More Details
Ann Arbor, Mich. : UMI Research Press, c1985.
0835716074 (alk. paper)
general note
Includes index.
catalogue key
Bibliography: p. [277]-280.
A Look Inside
Full Text Reviews
Appeared in Choice on 1985-09:
Despite flaws (pretentious vocabulary, insufficient index, omission of articles from bibliography, ignoring of underground films), Stam's book is timely and important. His topic is films that ``break with art as enchantment and point to their own factitiousness as textural constructs.'' In his treatment of film-within-film, Stam raises questions of spectator-film relationships: voyeurism, passivity, prurience. His 12-page analysis of Rear Window is the most brilliant anywhere. Some films Stam discusses are about the process of filmmaking, the earliest and best being Vertov's A Man with a Movie Camera. In ``The Genre of Self-Consciousness,'' Stam explores devices that flaunt ``the condition of artifice'' (a director walking through a scene, quoting another film with a poster, action, or even title, e.g., Play It Again Sam). This chapter needs better analysis of Woody Allen; the Purple Rose of Cairo came too late. The last two chapters are valuable reminders that movies are fun: ``The Carnival of Modernism'' veers off into surrealism; ``The Pleasures of Subversion'' deals almost exclusively with Godard and Tanner. Stam's strength throughout is a rich and wide knowledge of literature-Cervantes, Brecht, Shakespeare, Nabokov, Rabelais, Flaubert, Fielding-providing a firm foundation for observations about the aesthetics and politics of cinema. Upper-division undergraduates and beyond.-P.H. Stacy, University of Hartford
This item was reviewed in:
Choice, September 1985
To find out how to look for other reviews, please see our guides to finding book reviews in the Sciences or Social Sciences and Humanities.
Table of Contents
Preface to the Morningside Edition
Introductionp. 1
Allegories of Spectatorshipp. 29
The Process of Productionp. 71
The Genre of Self-Consciousnessp. 127
The Carnival of Modernismp. 167
The Pleasures of Subversionp. 209
Appendix: Reflexivity and the Specifically Cinematicp. 255
Notesp. 267
Selected Bibliography for the 1985 Editionp. 277
Indexp. 281
Table of Contents provided by Blackwell. All Rights Reserved.

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