|  | | | | | 63. John Dewey, quoted in Kliebard, p. 68. | | | | | | | | | 64. I am thinking here of USC. Other film schools often have a different arrangement. | | | | | | | | | 65. Block, p. 35. | | | | | | | | | 66. In Robert W. Welkos, ''Hey, He Only Imported the Theory," Los Angeles Times, Calendar Section, June 30, 1996, p. 27. | | | | | | | | | 67. Allan Bloom, The Closing of the American Mind (New York: Simon and Schuster, 1987), p. 338. | | | | | | | | | 68. Gerald Graft, Professing Literature (Chicago: Univ. of Chicago Press, 1987), p. 252. | | | | | | | | | 69. Harry D. Gideonse, quoted in American Higher Education, p. 945. | | | | | | | | | 70. Peter Greenaway, interviewed in Millimeter (June 1997), p. 128. | | | | | | | | | 71. Rick Schmidt, Feature Filmmaking at Used-Car Prices (New York: Penguin, 1988). | | | | | | | | | 72. Roberto Rossellini, quoted in Eric Sherman, Directing the Film: Film Directors on Their Art (Boston: Little Brown and Co., 1976), pp. 304 05. | | | | | | | | | 1. Benjamin B. Hampton, History of the American Film from Its Beginnings (New York: Dover, 1970 reprint of the 1931 text), p. 30. | | | | | | | | | 2. In the New York Dramatic Mirror (1912), quoted by Janet Staiger in "'Tame' Authors and the Corporate Laboratory: Stories, Writers, and Scenarios in Hollywood," Quarterly Review of Film Studies, vol. 8, no. 4 (Fall 1983). | | | | | | | | | 3. Janet Staiger, "The Hollywood Mode of Production: The Construction of Divided Labor" Ph.D. dissertation: Univ. of Wisconsin-Madison, 1981), p. 154. | | | | | | | | | 4. Quoted in Janet Staiger, "Blueprints for Feature Films: Hollywood's Continuity Scripts," in The American Film Industry, ed. Tino Balio (Madison: Univ. of Wisconsin Press, rev. ed., 1985), p. 191. | | | | | | | | | 5. Ince, quoted in Edward Azlant, The Theory, History, and Practice of Screenwriting 1897 1920 (Ann Arbor, Michigan: University Microfilms International, 1982), p. 165. | | | | |
