- Page 3: WHAT IS CINEMA?
- Page 6 and 7: UNIVERSITY OF CALIFORNIA PRESSBerke
- Page 8 and 9: Forewordits progress. It is, thanks
- Page 11 and 12: INTRODUCTIONBy Hugh GrayIT IS NEARL
- Page 13 and 14: During the war he was a member of a
- Page 15 and 16: I ntTQductjona series of afterthoug
- Page 17 and 18: IIIntroductionof things but of the
- Page 19 and 20: THE ONTOLOGYOF THE PHOTOGRAPHIC IMA
- Page 21 and 22: The Ontology of the Photographic Im
- Page 23 and 24: The Ontology of the Photographic Im
- Page 25 and 26: The Ontology of the Photographic Im
- Page 27 and 28: THE MYTH OF TOTAL CINEMAPARADOXICAL
- Page 29 and 30: The Myth of Total Cinemahave cause
- Page 31 and 32: ...The Myth of Total Cinemakind of
- Page 33 and 34: THE EVOLUTIONOF THE LANGUAGE OF CIN
- Page 35 and 36: The Evolution of the Language of Ci
- Page 37 and 38: The Evolution of the Language of Ci
- Page 39 and 40: pThe Evolution of the Language of C
- Page 41 and 42: The Evolution of the Language of Ci
- Page 43 and 44: The Evolution of the Language of Ci
- Page 45 and 46: The Evolution of the Language of Ci
- Page 47 and 48: tnzThe Evolution of the Language of
- Page 49: The Evolution of the Language of Ci
- Page 53 and 54: The Virtues and Limitations of Mont
- Page 55 and 56: The Virtues and Limitations of Mont
- Page 57 and 58: .,."The Virtues and Limitations of
- Page 59 and 60: .""The Virtues and Limitations of M
- Page 61 and 62: The Virtues and Limitations of Mont
- Page 63 and 64: IN DEFENSE OF MIXED CINEMAA BACKWAR
- Page 65 and 66: In Defense of Mixed Cinemaits trans
- Page 67 and 68: In Defense of Mixed Cinemaof expres
- Page 69 and 70: In Defense of Mixed Cinemafeuillade
- Page 71 and 72: In Defense of Mixed CinemailY follo
- Page 73 and 74: In Defense of Mixed CinemaA.ctually
- Page 75 and 76: In Defense of Mixed Cinematends he
- Page 77 and 78: In Defense of Mixed Cinemathe spiri
- Page 79 and 80: In Defense of Mixed CinemaThe effec
- Page 81 and 82: In Defense of Mixed Cinemato an ada
- Page 83 and 84: III Defense of Mixed Cinemabecause
- Page 85 and 86: In. Defense of Mixed Cinematime of
- Page 87 and 88: Theater and Cinema-Part Onequestion
- Page 89 and 90: Theater and Cinema-Part Oneto the a
- Page 91 and 92: Theater and Cinema-Part Oneup spont
- Page 93 and 94: Theater and Cinema-Part Onerather o
- Page 95 and 96: Theater and Cinema-Part Oneatet. Th
- Page 97 and 98: Theater and Cinema-Part Onemuch tho
- Page 99 and 100: Theater and Cinema-Part Oneby side
- Page 101 and 102:
Theater and Cinema-Part Onemeanwhil
- Page 103 and 104:
Theater and Cinema-Part Oneing." Le
- Page 105 and 106:
THEATER AND CINEMAPart TwoTHE LEITM
- Page 107 and 108:
Theater and Cinema-Part Twothing st
- Page 109 and 110:
Theater and Cinema-Part Twothis obs
- Page 111 and 112:
Theater and Cinema-Part Twooccasion
- Page 113 and 114:
Theater and Cinema-Part Twoconseque
- Page 115 and 116:
Theater and Cinema-Part Twofootligh
- Page 117 and 118:
Theater and Cinema-Part Twotion, bu
- Page 119 and 120:
Theater and Cinema-Part Twocept of
- Page 121 and 122:
Theater and Cinema-Part Twothe illu
- Page 123 and 124:
LTheater and Cinema-Part TwoIlOW on
- Page 125 and 126:
Theater and Cinema-Part Twoinsistin
- Page 127 and 128:
Theater and Cinema-Part Twotheatric
- Page 129 and 130:
Theater and Cinema-Part TwoIt was t
- Page 131 and 132:
Theater and Cinema-Part Twocan come
- Page 133 and 134:
Theater and Cinema-Part TwoCome die
- Page 135 and 136:
LE JOURNAL D'UN CURE DE CAMPAGNEAND
- Page 137 and 138:
The Stylistics of Robert Bressonres
- Page 139 and 140:
IThe Stylistics of Robert Bressonwa
- Page 141 and 142:
The Sty lis tics of Robert Bressont
- Page 143 and 144:
The Stylistics 0/ Robert Bressonwho
- Page 145 and 146:
The Stylistics of Robert Bressonbet
- Page 147 and 148:
The Stylistics of Robert Bressonwhi
- Page 149 and 150:
The Stylistics of Robert Bressonfus
- Page 151 and 152:
The Sty lis tics of Robert Bressons
- Page 153 and 154:
The Stylistics of Robert Bressontha
- Page 155 and 156:
Charlie Chaplingrim we see him dres
- Page 157 and 158:
Charlie Chaplindifferent kind. At t
- Page 159 and 160:
Charlie Chaplinof solving the probl
- Page 161 and 162:
Charlie Chaplinimaginary bolts; in
- Page 163 and 164:
Charlie Chaplinthe absurd, reduced
- Page 165 and 166:
Cinema and Explorationthose films s
- Page 167 and 168:
-Cinema and ExplorationLet us first
- Page 169 and 170:
Cinema and ExplorationExoticism wit
- Page 171 and 172:
Cinema and Explorationin consequenc
- Page 173 and 174:
Cinema and Explorationpreserve the
- Page 175 and 176:
Painting and CinemaOne might confin
- Page 177 and 178:
Painting and Cinemadoes not bear cl
- Page 179:
Painting and CinemaIt is neverthele
- Page 183 and 184:
SOURCES AND TRANSLATOR'S NOTESTHE O
- Page 185 and 186:
Notesp. 81, Henri Goubier.A profess
- Page 187:
INDEX
- Page 190 and 191:
What Is Cinema?Cimbo, 154Circus, 'T
- Page 192 and 193:
What Is Cinema?Niepce, Nicephore. 1