|  | | | | | 74. Robby M ller, ''I Am a Cameraman," LA Weekly, November 22 28, 1996, p. 29. | | | | | | | | | 75. Lars von Trier, quoted in "The Director Talks," LA Weekly, November 22 28, 1996, p. 27. | | | | | | | | | 76. Jean-Paul Torok, Le Sc nario: Histoire, th orie, pratique (Paris: Henri Veyrier/Artefact, 1986), p. 92 (my translation). | | | | | | | | | 77. Viktor Shklovski, "Art as a Technique," in Russian Formalist Criticism: Four Essays, trans. Lee T. Lemon and Marion J. Reis (Lincoln, Neb.: Univ. of Nebraska Press, 1965), p. 12. | | | | | | | | | 78. Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority, trans. Alphonso Lingis (Pittsburgh: Duquesne Univ. Press, 1969), p. 13. | | | | | | | | | 79. Totality and Infinity provides a good introduction to Levinas's main themes. | | | | | | | | | 80. See B la Bal sz, Theory of the Film: Character and Growth of a New Art, trans. Edith Bone (New York: Dover, 1970), chap. 8. | | | | | | | | | 81. Shklovski, p. 12 (his emphasis). | | | | | | | | | 82. Emmanuel Levinas, Existence and Existents, trans. Alphonso Lingis (The Hague: Martinus Nijhof, 1978), p. 40. | | | | | | | | | 83. Edward Edinger, quoted in Don Fredericksen "Jung/Sign/Symbol/Film," Part I, Quarterly Review of Film Studies, vol. 4, no. 2, 1979, p. 181. | | | | | | | | | 84. Ingmar Bergman and Luis Bu uel, quoted in Fredericksen, p. 185. | | | | | | | | | 85. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981), pp. 27 28. | | | | | | | | | 86. Quoted in Documentary Explorations, ed. G. Roy Levin (Garden City: Doubleday, 1971), pp. 53 54. | | | | | | | | | 87. Max Oph ls, quoted in Villain, p. 50. | | | | | | | | | 1. Emmanuel Levinas, Existence and Existents, trans. A. Lingis (The Hague/Boston: Martinus Nijhoff, 1978), p. 84. | | | | | | | | | 2. Maurice Merleau-Ponty, Sense and Non-Sense, trans. Hubert L. Dreyfus and Patricia Allen Dreyfus (Evanston: Northwestern Univ. Press, 1964), pp. 48 49. | | | | |
