Herbert suggested that one can productively use both the SLAM works
and Bordwell et al.'s work. Bellour, for instance, in the mid-70s
produced film analyses of exhaustive breadth, e.g. of The Birds. This
would seem to lend extra credence to Bordwell's claim in Making
Meaning that it is the exigencies of the film studies marketplace
which would demand periodic paradigm changes and respective
positioning (in the sense of would-be oedipal slayings of father
figures).
H
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