History Films, Women, and Freud's Uncanny

By Susan E. Linville | Go to book overview

INDEX
Page numbers in italics indicate illustrations
abaya, 147, 151
Aberdeen Proving Ground (Maryland), 94
“accusatory space,” in black ghetto film, 12
Affair to Remember, An, 38
Afghanistan, U.S. invasion of, 146–149, 174n3
African American history, in film, 11–14, 49
“age of access,” 137–138, 142
Air Force One, 89
Albright, Madeleine, 97
Aldrich, Robert, 38
Alien films, 111
Allen, Joan, 68, 74–75, 78, 164n28 Amazon warrior, military myth of, 109, 111
ambiguity, in aesthetics, 9, 16, 33, 64, 69– 70, 124
American ideals of 1950s. See Eisenhower-era America
Americas “golden age,” 6, 9, 35, 142
anti-Arab animosity, by U.S., 108–109, 149
Antonio (Tempest), 1, 131
Apocalypse Now, 103, 170n29
Archuletta, Beulah, 5
Ariel (Tempest), 3, 123, 128
Arlington National Cemetery, 100, 107
Arrangement in Grey and Black, No. I: Portrait of the Artist’s Mother, 77, 80. See also Whistler’s Mother
automata: military enemy dehumanized as, 26–27, 49–50, 53, 64; as uncanny aesthetic motif, 16, 19, 31, 64–65, 68–69, 84–85, 88. See also doll
Bakhtin, Mikhail, 170–171n38
Baldwin, James, 106
Bancroft, Tony, 100
Battle of the Bulge, 49, 59, 159–160n22
Baum, Dan, 151
Bearak, Barry, 149
Beatty, Warren, 4, 11, 13
Beau Travail, 161n41
beauty aesthetics of, 23–24, 39–41, 43–44, 51–52, 54–55
Behind Enemy Lines, 143–144
Beloved, 19
Benetatos, Antonios, 144–145
Berry, Halle, 11, 172n12
betrayal, female, 135–137
Bhabha, Homi, 19–20, 63, 69, 117, 120, 125, 131
Big Red One, The, 42, 56, 112
bin Laden, Osama, 92, 147
Birth of a Nation, The, 94, 108
Black Hawk Down, 144–145, 151
Black Mama, White Mama, 127

-187-

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