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259 INTRODUCTION 1. Elias Canetti, Crowds and Power, trans. Carol Stewart (New York: Farrar , Straus and Giroux, 1962, 1973), 75. Originally published as Masse und Macht (Hamburg: Claassen Verlag, 1960). Henceforth, numbers in parentheses following quotations refer to Stewart’s translation. 2. Quoted by Siegfried Kracauer in Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press, 1960), 31. 3. Ibid., 51. 4. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, enlarged edition (Cambridge: Harvard University Press, 1979), 35. 5. Vanessa R. Schwartz, Spectacular Realities: Early Mass Culture and Finde -Siècle Paris (Berkeley: University of California Press, 1998), 179. 6. Lenelis Kruse, “Conceptions of Crowds and Crowding,” in Changing Conceptions of Crowd Mind and Behavior, ed. Carl F. Graumann and Serge Moscovici (New York: Springer-Verlag, 1986), 127. 7. As noted, throughout this study I quote Carol Stewart’s translation of Masse und Macht. This may be an appropriate moment, however, to note that the resonant German seems to me richer than its English reduction. The Masse of Canetti’s title, accurately translated for its primary sense, also carries in German (as in English) the sense of physical mass. It then combines with Macht not only to signify the connection between crowds and power but to suggest an anthropological relation of terms as profound and elemental as that which represents part of the best-known revolution in twentieth-century science, the discovery of the equivalence between matter and energy summed up in the famous equation E = MC2 . The latter association disappears from the English title. The importance to Canetti’s thought of twentieth-century physical science is discussed in Petra Kuhnau, Masse und Macht in der Geschichte: Zur Konzeption anthropologischer Konstanten in Elias Canettis Werk Masse und Macht (Wärzburg: Könighausen und Neumann, 1996), esp. 24–70, 204–7. 8. Elias Canetti, Notes from Hampstead / The Writer’s Notes: 1954–1971, trans. John Hargraves (Munich: Carl Hanswer Verlag, 1994; New York: Farrar, Straus and Giroux, 1998), 8. Citations are to the 1994 edition. 9. See Ernest Becker, Escape from Evil (New York: Free Press, 1975) and The Denial of Death (New York: Free Press, 1973). 10. Irving Massey, The Gaping Pig: Literature and Metamorphosis (Berkeley: Notes NOTES 260 University of California Press, 1976), 14. 11. Becker, Escape from Evil, 139. 12. Such an ambition for inclusiveness may, as George Toles remarked to me, “inevitably entail” some aesthetic sacrifices and risks. If the achievement of inclusiveness is perceived to fall short of the ambition , viewers are apt to be “left not indifferent, but enraged.” In an explicitly antagonistic analysis of Forrest Gump, Robert Burgoyne concludes, “The film evokes the cultural encyclopedia of the sixties and seventies chiefly in order to construct a virtual nation whose historical debts have all been forgiven and whose disabilities have been corrected” (Burgoyne, Film Nation: Hollywood Looks at U.S. History [Minneapolis: University of Minnesota Press, 1997], 119). Speaking directly to the issue of presumptive inclusiveness, he cites Tom Conley ’s view that “the project of national reclamation . . . depends on the film’s ‘wiping the slate clean of female presence’” (108). 13. Jeffrey Richards, The Age of the Dream Palace (London: Routledge, 1987), 18. Cited in Mark Jancovich and Lucy Faire with Sara Stubbings , The Place of the Audience: Cultural Geographies of Film Consumption (London: British Film Institute, 2003), 87. 14. Bruce A. Austin, Immediate Seating: A Look at Movie Audiences (Belmont , Calif.: Wadsworth, 1989), 87. 15. Katie Hafner, “Let’s All Gather Round the Screen,” New York Times, February 5, 2004, E1, 6. 16. Ibid., E1. 17. Cavell, World Viewed, 40. 18. Jancovich and Faire, Place of the Audience, 169. This volume has an especially compendious bibliography—more than 500 items—of studies in film spectatorship and the development of moviegoing in the modern world. 19. Leo Charney and Vanessa R. Schwartz, eds., Cinema and the Invention of Modern Life (Berkeley: University of California Press, 1995). 20. David Bordwell, foreword to Shared Pleasures, by Douglas Gomery (Madison: University of Wisconsin Press, 1992), xiv. 21. Elias Canetti, “The Writer’s Profession,” in The Conscience of Words (New York: Seabury, 1979), 245. 22. Elias Canetti, Comedy of Vanity and Life-Terms (Munich: Carl Hanser Verlag, 1976; New York: Performing Arts Journal Publications, 1983), 85. Citations are to the 1983 edition. 23. Eric Rohmer and Claude Chabrol, Hitchcock: The First Forty-Four Films, trans. Stanley Hochman (New York: Frederick Ungar, 1979), 134. CHAPTER 1 1. Vachel Lindsay, The Art of...

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