|  | | | | | Shoshana Felman and Dori Laub, Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (New York: Routledge, 1992). | | | | | | | | | 79. Abraham Segal, "Jean-Luc Godard," p. 74. | | | | | | | | | 1. Noel Burch, quoted by Tom Gunning, "Weaving a Narrative: Style and Economic Background in Griffith's Biograph Films," in Early Cinema: Space Frame Narrative, ed. Thomas Elsaesser (London: British Film Institute, 1990), p. 340. | | | | | | | | | 2. Noel Burch, Life to Those Shadows, trans. Ben Brewster (Berkeley: Univ. of California Press, 1990), p. 155 (his emphasis). | | | | | | | | | 3. See Jean Mitry, Esth tique et psychologie du cin ma, vol. 1, Les structures (Paris: Editions universitaires, 1963), p. 163. | | | | | | | | | 4. Walter Murch, In the Blink of an Eye: A Perspective on Film Editing (Los Angeles: Silman James Press, 1995), p. 55. | | | | | | | | | 5. Gilles Deleuze, Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: Univ. of Minnesota Press, 1986), p. 30. | | | | | | | | | 6. Quoted by Tom Gunning, D. W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph (Urbana: Univ. of Illinois Press, 1991), p. 189. | | | | | | | | | 7. Gunning, D. W. Griffith, p. 26. | | | | | | | | | 8. Thomas Elsaesser, Early Cinema: Space Frame Narrative, p. 295. | | | | | | | | | 9. A good explanation of the "fort/da" game can be found in Kaja Silverman, The Subject of Semiotics (New York: Oxford Univ. Press, 1983), pp. 166 78. | | | | | | | | | 10. Deleuze, p.33. | | | | | | | | | 11. Dana Polan, "'The Kuleshov Effect' Effect" in Iris, vol. 4, no. 1 (1986). | | | | | | | | | 12. On the historical complexity surrounding the Kuleshov effect, see Dominique Chateau "L'Effet Koulechov et le cin ma comme art" in Iris, vol. 4, no. 1 (1986). | | | | |
