Notes
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629 INTRODUCTION 1. See Noël Carroll, “Prospects for Film Theory: A Personal Perspective,” in David Bordwell and Noël Carroll, eds., Post-Theory: Reconstructing Film Studies (Madison: University of Wisconsin Press, 1996), 37–68; and Gregory Currie, “The Film Theory That Never Was: A Nervous Manifesto,” in Richard Allen and Murray Smith, eds., Film Theory and Philosophy (Oxford: Oxford University Press, 1997), 42–59. 2. Most of the work undertaken on film manifestos thus far has focused on Dogme ’95. See, for instance, Richard Kelly, The Name of This Book Is Dogme 95 (New York: Faber and Faber, 2000); and Mette Hjort and Scott MacKenzie, eds., Purity and Provocation: Dogma 95 (London: BFI, 2003). 3. Fredric Jameson, “The Politics of Utopia,” New Left Review 25 (2004): 35–54, 41. 4. Janet Lyon, Manifestoes: Provocations of the Modern (Ithaca, NY: Cornell University Press, 1999), 9. 5. Louis Althusser, “Theory and Political Practice,” in Machiavelli and Us (London: Verso, 1999), 13. 6. Louis Althusser, “Machiavelli’s Solitude,” in Machiavelli and Us (London: Verso, 1999): 127. 7. Greil Marcus, Lipstick Traces: A Secret History of the Twentieth Century (Cambridge, MA: Harvard University Press, 1989), 23. 8. Karl Mannheim, Ideology and Utopia (1936; New York: Harvest Books, 1968), 192. NOTES 630 • N O T E S T O P A G E S 6 — 9 3 9. Paul Ricoeur, Essays on Ideology and Utopia (New York: Columbia University Press, 1986), 273–274. 10. Ibid., 283. 11. Susan Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA: MIT Press, 1989), 219. 12. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981), 296. 13. Jameson, “The Politics of Utopia,” 36. 14. See Buñuel’s preface to the script of Un chien andalou, originally published in La révolution surréaliste 12 (1929), translated and reprinted in chapter 1 of this volume. 15. Karl Marx, “Theses on Feuerbach,” in Karl Marx and Friedrich Engels, The German Ideology (New York: International Publishers, 1970), 123. CHAPTER 1. THE AVANT-GARDE(S) 1. The RSFSR is the Russian Soviet Federative Socialist Republic, the largest republic in the former Soviet Union. 2. The quality of being truly cinematic. 3. Alexander Scriabin, a Russian composer who developed atonal music. 4. A French social science and history journal that began publishing in 1929. 5. A 1923 UK film codirected by Graham Cutts and Alfred Hitchcock, though the latter is uncredited. 6. Queen Elizabeth II. 7. The US attorney general James P. McGranery, who banned Chaplin from reentering the States in 1952. 8. Sam Katzman (1901–1973) was an American low-budget film producer and director who did indeed give Rice film stock. 9. I had originally thought that the title at the end of the 16 mm prints circulating during the 1970s and 1980s of Vertov’s Man with a Movie Camera (Kiнец) was a futurist portmanteau word in Russian: Kino [cinema] + Konets [(The) End]. I had thought that the odd spelling of the word (with an “i” instead of “и”) was simply a preorthographic reform spelling. I was mistaken; it was simply the Ukrainian word for “[The] End.” Ironically, in the five current DVD versions of the work I have seen, this title has been replaced with a video intertitle using the Russian word “Конец.” Current practice is a historical “correction” since the work was produced by the All Ukrainian Photo-Cinema Directorate (VUFKU) Всеукраинское фотокиноуправление (ВУФКУ) and very likely bore the Ukrainian version of the word at the end, which would have been easily understandable by any literate Russian. 10. Sitney has, since the writing of this text, rewritten Visionary Film several times and has significantly revised the films he has included and to some degree the logic of their inclusion. The current edition includes a significantly greater number of women than the edition in print at the time this text was written. 11. A few years ago, P. Adams Sitney, my colleague at Princeton—how times change—informed me that Frampton had in fact appropriated the story from him. N O T E S T O P A G E S 9 5 — 2 6 6 • 631 12. Other rumors suggested that Warhol pulled the films “off the market” because he had no model releases and thought he would be constantly hounded for money from the people who had participated in them. It is said that he had already been hounded by some of the actors when the films were...


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