|  | | | | | 47. Percy Lubbock, The Craft of Fiction (New York: Charles Scribner's Sons, 1921), p. 113. | | | | | | | | | 48. David Mamet, On Directing Film (New York: Viking, 1991). | | | | | | | | | 49. Lubbock, p. 111. | | | | | | | | | 50. Deleuze, p. 20. | | | | | | | | | 51. Wayne C. Booth explaining Henry James's technique in The Rhetoric of Fiction (Chicago: Univ. of Chicago Press, 1961), pp. 23 24. | | | | | | | | | 52. Jean Mitry, Esth tique et psychologie du c n ma (Paris: Editions universitaires, 1963), vol. 1, pp. 392 93. | | | | | | | | | 53. I refer to Orlando's gender as it is acknowledged by other characters in the film. | | | | | | | | | 54. The notion of "attachment" can be found in Boris Uspensky, A Poetics of Composition, trans. Valentina Zavarin and Susan Wittig (Berkeley: Univ. of California Press, 1973), p. 58. | | | | | | | | | 55. A good analysis of Lady in the Lake can be found in Vivian Sobchack, The Address of the Eye: A Phenomenology of Film Experience (Princeton, N.J.: Princeton Univ. Press, 1992), pp. 230 48. | | | | | | | | | 56. See Uspensky, pp. 32 33. | | | | | | | | | 57. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction," in Film Theory and Criticism: Introductory Readings, 4th edition, ed. Gerald Mast, Marshall Cohen, and Leo Braudy (New York: Oxford Univ. Press, 1992), p. 675. | | | | | | | | | 58. Booth, p. 116 (my emphasis). | | | | | | | | | 59. Seymour Chatman, Coming to Terms: The Rhetoric of Narrative in Fiction and Film (Ithaca: Cornell Univ. Press, 1990), pp. 83 84. | | | | | | | | | 60. Booth, p. 113 (my emphasis). | | | | | | | | | 61. "Entretien avec Jean-Marie Straub et Daniele Huillet," Cahiers du Cin ma 223 (August 1970), p. 54. | | | | | | | | | 1. In Randy Thom, "Designing a Movie for Sound," an unpublished paper to be part of his forthcoming book, Sound Design, The Art of Using Sound in Storytelling, p. 3. | | | | |
