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When Salieri realizes who the dirty minded fop he has been spying on really is in Amadeus the recreation of the Spanish Inquisition in a gynecological operating room in Dead Ringers Jeff Goldblum removing his teeth and eyebrows as he turns into The Fly Holly Hunter throws herself into the ocean at the end of The Piano and accidentally bares her breast while trying to extricate herself from the car wreck in Crash Christian Bale working himself up into a murdurous frenzy by reviewing 80's pop albums in American Psycho the discussion between Clerici and his old philosophy professor about Plato's Cave in The Conformist and between fellow cab drivers Robert DeNiro and Peter Boyle on the street in in Taxi Driver when (in reflection) Sterling Hayden walks into the ocean to his death in The Long Goodbye and Warren Beatty dies in the snow at the end of McCabe and Mrs. Miller and finally, David Hemmings' romp in the purple paper with the naked teeny boppers in Blow Up I have grading to do! "For beauty is the beginning of terror we are still able to bear, and why we love it so is because it so serenely disdains to destroy us" Rilke's First Duino Elegy Daniel Shaw Professor of Philosophy and Film Lock Haven University Managing Editor, Film and Philosophy website: www.lhup.edu/dshaw ________________________________ From: Film-Philosophy Salon on behalf of David Sorfa Sent: Sun 4/1/2007 1:06 PM To: [log in to unmask] Subject: Iconic Moments Christian Keathley's recent book Cinephilia and History, or the Wind in the Trees (2005) traces the development of an interest in the "cinephiliac moment" - exactly the sort of discrete film moments that are coming up in this thread. He argues that it is this interest in the "moment" rather than in films as a whole that can be seen to define a certain discourse of cinephilia in the 20th century and beyond (from Bazin to Perkins to somebody like Andy Klevan): http://www.amazon.com/Cinephilia-History-Trees-Christian-Keathley/dp/0253217954/ref=ed_oe_p/102-4688875-6932133 A related book would be John Gibbs and Douglas Pye's edited collection Style and Meaning: Studies in the Detailed Analysis of Film (Wallflower, 2005). However, I find that the emphasis on micro-analysis (perhaps something that is also bothering me in the concurrent thread on film and language) sometimes loses a sense of what is actually interesting about the films themselves - that is, that they are fictional narratives (i.e. something more than the sum of their shot/reverse shots). Of course, the best of this sort of writing shows that the micro is a metaphor of/for the macro... David * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. ** * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **