AcknowledgmentsIntroduction
and#160;
Part One: What Is the Modern?
1 THEORIZING MODERNISM
and#160;and#160;and#160;Modern
and#160;and#160; Modernism
and#160;and#160; Avant-garde
and#160;and#160; Cinema and Modernism: The First Encounter
and#160;and#160; The Institution of the Art Film
and#160;and#160; Modernist Art Cinema and the Avant-Garde
2 THEORIES OF THE CLASSICAL/MODERN DISTINCTION IN CINEMA
and#160;and#160; Style Analysts
and#160;and#160; Evolutionists
and#160;and#160; Modern Cinema and Deleuze
and#160;and#160; Modernism as an Unfinished Project
Part Two: The Forms of Modernism
3 MODERN ART CINEMA: STYLE OR MOVEMENT?
4 NARRATION IN MODERN CINEMA
and#160;and#160; Classical versus Modernist Art Films
and#160;and#160; The Alienation of the Abstract Individual
and#160;and#160; Who Is and#8220;the Individualand#8221; in Modern Cinema?
and#160;and#160; The Role of Chance
and#160;and#160; Open-Ended Narrative
and#160;and#160; Narrative Trajectory Patterns: Linear, Circular, Spiral
5 GENRE IN MODERN CINEMA
and#160;and#160; Melodrama and Modernism Excursus: Sartre and the Philosophy of Nothingness
and#160;and#160; A Modern Melodrama: Antonioniand#8217;s Eclipse (1962)
and#160;and#160; Other Genres and Recurrent Plot Elements
and#160;and#160; Investigation
and#160;and#160; Wandering/Travel
and#160;and#160; The Mental Journey
and#160;and#160; Closed-Situation Drama
and#160;and#160; Satire/Genre Parody
and#160;and#160; The Film Essay
6 PATTERNS OF MODERN STYLES
and#160;and#160; Primary Formation: Continuity and Discontinuity
and#160;and#160; Radical Continuity
and#160;and#160; Imaginary Time in Last Year at Marienbad
and#160;and#160; Radical Discontinuity
and#160;and#160; The Fragmented Form according to Godard
and#160;and#160; Serial Form
7 STYLES AND FORMS OF MODERNISM
and#160;and#160; Minimalist Forms
and#160;and#160; The Bresson Form
and#160;and#160; Abstract Subjectivity and the and#8220;Modeland#8221;
and#160;and#160; Bresson and His Followers
and#160;and#160; Analytical Minimalism: The Antonioni Form
and#160;and#160; Psychic Landscape?
and#160;and#160; Continuity
and#160;and#160; Antonioni and His Followers
and#160;and#160; Expressive Minimalism
8 NATURALIST FORMS
and#160;and#160; Post-neorealism
and#160;and#160; Cinand#233;ma Vand#233;ritand#233;
and#160;and#160; The and#8220;New Waveand#8221; Style
9 ORNAMENTAL FORMS
10 THEATRICAL FORMS
11 MODERN CINEMA TRENDS
and#160;and#160; The Family Tree of Modern Cinema
and#160;and#160; Part Three: Appearance and Propagation of Modernism (1949and#8211;1958)
12 CRITICAL REFLEXIVITY OR THE BIRTH OF THE AUTEUR
and#160;and#160; The Birth of the Auteur
and#160;and#160; Historical Forms of Reflexivity
and#160;and#160; The Emergence of Critical Reflexivity: Bergmanand#8217;s Prison
and#160;and#160; Reflexivity and Abstraction: Modern Cinema and the Nouveau Roman
13and#160;THE RETURN OF THE THEATRICAL
and#160;and#160; Abstract Dramaand#160;
14 THE DESTABILIZATION OF THE FABULA: NEOREALISM AND MODERNISM
and#160;and#160; Voice-Over Narration
and#160;and#160; The Dissolution of Classical Narrative: Film Noir and Modernism
and#160;and#160; Fabula Alternatives: Hitchcock
and#160;and#160; Alternative Subjective Narration: Rashomon
15and#160;AN ALTERNATIVE TO THE CLASSICAL FORMand#160;
and#160;and#160; The End of Neorealism
and#160;and#160; Modernism in Story of a Love Affair: Neorealism Meets Film Noir
and#160;and#160; Rosselini: The and#8220;Neorealist Miracleand#8221;and#160;
Part Four: The Short Story of Modern Cinema (1959and#8211;1975)
16 THE ROMANTIC PERIOD, 1959and#8211;1961
and#160;and#160; Neorealism: The Reference
and#160;and#160; Eastern Europe: From Socialist Realism toward Neorealism
and#160;and#160; Heroism versus Modernism
and#160;and#160; Jerzy Kawalerowicz: The First Modern Polish Auteur
and#160;and#160; The Year 1959
and#160;and#160; Forms of Romantic Modernism
and#160;and#160; Genre and Narration in the Early Years
and#160;and#160; Sound and Image
and#160;and#160; Background and Foreground
and#160;and#160; From Hiroshima to Marienbad: Modernism and the Cinema of the Elite
and#160;and#160; The Production System of the and#8220;New Cinemaand#8221;
17 ESTABLISHED MODERNISM, 1962and#8211;1966
and#160;and#160; Western Europe around 1962
and#160;and#160; The Key Film of 1962: Felliniand#8217;s 8 and#189;
and#160;and#160; Central Europe
and#160;and#160; Czechoslovak Grotesque Realism
and#160;and#160; The and#8220;Central European Experienceand#8221;
and#160;and#160; Jancsand#243; and the Ornamental Styleand#160;
Summary
18 THE YEAR 1966
and#160;and#160; The Loneliness of the Auteur
19 POLITICAL MODERNISM, 1967and#8211;1975
and#160;and#160; The Year 1968
and#160;and#160; Conceptual Modernism: The Auteurand#8217;s New World
and#160;and#160; Reconstructing Reality
and#160;and#160; Counter-Cinema: Narration as a Direct Auteurial Discourse
and#160;and#160; The Film as a Means of Direct Political Action
and#160;and#160; Parabolic Discourse
and#160;and#160; Teorema
and#160;and#160; The Auteurand#8217;s Private Mythology
and#160;and#160; The Self-Critique of Political Modernism: Sweet Movie
and#160;and#160; Summary
20 and#8220;THE DEATH OF THE AUTEURand#8221;
and#160;and#160; The Last of Modernism: Mirror
and#160;and#160; Mirror and Serial Structure
and#160;and#160; The Disappearance of Nothingness
Appendix: A Chronology of Modern Film
Bibliography
Index