|  | | | | | 38. Quoted in Petrosino and Rolland, p. 23. | | | | | | | | | 39. Martin Heidegger, "The End of Philosophy," in Basic Writings, ed. and trans. David Farrell Krell (New York: Harper, 1977), p. 384. | | | | | | | | | 40. Martin Heidegger, "The Origin of the Work of Art," in Basic Writings, p. 175. | | | | | | | | | 41. Emmanuel Levinas, Time and the Other, trans. Richard A. Cohen (Pittsburgh: Duquesne Univ. Press, 1987), p. 64. | | | | | | | | | 42. Heidegger, "The Origin of the Work of Art," p. 175. | | | | | | | | | 43. Heidegger, "On the Essence of Truth" in Basic Writings, p. 132. | | | | | | | | | 44. Heidegger, "The Origin of the Work of Art," p. 175. | | | | | | | | | 45. Heidegger, "The Origin of the Work of Art," p. 175. | | | | | | | | | 1. Jean-Luc Godard par Jean-Luc Godard (Paris: Cahiers du Cin ma/Editions de l'Etoile, 1985), p. 532. | | | | | | | | | 2. The "camera-stylo" of Alexandre Astruc has many meanings, this being one of them. See his article, "The Birth of a New Avant-Garde: La Cam ra-Stylo," in The New Wave, ed. Peter Graham (New York: Doubleday, 1968). | | | | | | | | | 3. Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and Ian McLeod (Chicago: Univ. of Chicago Press, 1987), p. 81. | | | | | | | | | 4. Rudolf Arnheim, The Power of the Center: A Study of Composition in the Visual Arts (Berkeley: Univ. of California Press, 1982), p. 215. | | | | | | | | | 5. Lucien S ve, quoted in Jean Mitry, Esth tique et psychologie du cin ma, vol. 1: Les structures ( Paris: Editions universitaires, 1963), p. 167 (my translation). | | | | | | | | | 6. Arnheim, pp. 59 60. | | | | | | | | | 7. Sergei Eisenstein, Film Essays and a Lecture, ed. and trans. Jay Leyda (New York: Praeger, 1970), p. 52. | | | | | | | | | 8. John Belton, Widescreen Cinema (Cambridge: Harvard Univ. Press, 1992), p. 44. | | | | |
