Sound Technology and the American Cinema: Perception, Representation, Modernity

By James Lastra; John Belton | Go to book overview

NOTES

Introduction—Discourse / Device / Practice / Institution
1
Dana Brand, “From the flâneur to the Detective: Interpreting the City of Poe,” in Tony Bennett, ed., Popular Fiction: Technology, Ideology, Production, Reading (London and New York: Routledge, 1990), 220–37; see also Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, trans. Harry Zohn (London: New Left Books, 1973). 48. The inspiration for my interpretation is Robert Ray, “Snapshots: The Beginnings of Photography,” in Dudley Andrew, ed., The Image in Dispute: Art and Cinema in the Age of Photography (Austin: University of Texas Press, 1997), 293–308.
2
Richard Sieburth, “Same Difference: The French Physiologies, 1840–1842,” in Norman F. Cantor, ed., Notebooks in Cultural Analysis (Durham, N.C.: Duke University Press, 1984), 163–200.
3
Allan Sekula's “The Body and the Archive,” October 39 (1986): 3–64, esp. 18–20, offers a compelling account of the logic informing each project.
4
Siegfried Kracauer, “Photography,” The Mass Ornament: Weimar Essays, trans, and ed. Thomas Y. Levin (Cambridge, Mass., and London: Harvard University Press, 1997), 47–63. See Benjamin's related comments on the “optical unconscious” in “A Short History of Photography” and “The Work of Art in the Age of Mechanical Reproduction,” Illuminations, trans. Harry Zohn (New York: Schocken Books, 1969), 217–52.
5
Miriam Hansen, “America, Paris, the Alps: Kracauer (and Benjamin) on Cinema and Modernity,” in Leo Charney and Vanessa Schwartz, eds., Cinema and the Invention of Modern Life (Berkeley, Los Angeles, and London: University of California Press, 1995), 362–402.

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