FILM FILM - University of Macau Library
FILM FILM - University of Macau Library
FILM FILM - University of Macau Library
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Notes 145<br />
28. Quoted from Filmjournalen 15, 1924, 206.<br />
29. Robert Herring, “Film Imagery: Seastrom”, Close Up 1, 1929.<br />
30. André, 31.<br />
31. Kollin, 683 f.<br />
32. Ibid., 684.<br />
33. See Florin, 1999, 154-163.<br />
34. Ray Tumbleson, “Potboiler Emancipation and the Prison <strong>of</strong> Pure Art: Clarissa, The<br />
Wind and Surviving Rape”, Literature/Film Quarterly, vol 25, no3, July 1997, 195.<br />
35. Petrie, 154 f.<br />
36. André, 32.<br />
37. Kollin, 688.<br />
38. Scarborough, 175.<br />
39. Sarah Projansky, in her “The Elusive/Ubiquitous Representation <strong>of</strong> Rape: A<br />
Historical Survey <strong>of</strong> Rape in U.S. Film, 1903-1972”, Cinema Journal, vol 41, no1,<br />
2001, 63-90, <strong>of</strong>fers a thorough historical analysis <strong>of</strong> the subject.<br />
40. Lynn A. Higgins and Brenda R. Silver, eds, Rape and Representation, New York:<br />
Columbia <strong>University</strong> Press, 1991, 2-3.<br />
41. Kollin, 680.<br />
42. Not least, its influence on film makers – as the image from James Cameron’s<br />
Titanic (1997), to mention only one example, where Kate Winslet and Leonardo di<br />
Caprio stand together in the stem <strong>of</strong> their doomed ship – references the original<br />
image from The Wind.<br />
43. Ibid., 688.<br />
44. Tumbleson, 194.<br />
45. Marion, 160.<br />
46. Gish in an introduction to The Wind on Turner Network Television, Summer 1990.<br />
47. Tumbleson, 194.<br />
Fragmented Pieces: Writing the History <strong>of</strong> the Lost Hollywood<br />
Films<br />
1. Giuliana Bruno, Streetwalking on a Ruined Map: Cultural Theory and the City Films <strong>of</strong><br />
Elvira Notari, Princeton, NJ: Princeton <strong>University</strong> Press, 1993.<br />
2. Ibid., 3.<br />
3. Ibid.<br />
4. Ibid., 147.<br />
5. Éric de Kuyper, “Fragments de l’histoire du cinéma. Quelques remarques sur la<br />
problématique du fragment”, Hors Cadre 10, 1992 (“Arrêt sur recherches”), 45-52.<br />
6. Paolo Cherchi Usai, The Death <strong>of</strong> Cinema: History, Cultural Memory and the Digital<br />
Dark Age, London: BFI Publishing, 2001, 18 f.<br />
7. Paolo Cherchi Usai, Burning Passions: An Introduction to the Study <strong>of</strong> Silent Cinema,<br />
London: BFI Publishing, 1994, 56.<br />
8. Ibid., 84.<br />
9. 1,170 metres, 47 min (22 fps).<br />
10. 250 metres, 10 min (22 fps). 16 metres from a later reel were also recently<br />
discovered.