The human face is a privileged arena of expressivity; yet, this book suggests, cinema's most radical encounters with the face give rise to ambiguity, illegibility an equivocation between image and language. Braiding theoretical and aesthetic considerations with close analysis of films, Steimatsky interrogates the convergence of archaic powers and modern anxieties in our experience of the face on film.
Inhaltsverzeichnis
- Table of Contents
- Acknowledgements
- Preface: Face Moving Image
- A Dispositif
- An Ur-Image
- The Face Against the Image
- Itineraries
- Chapter One: We Had Faces, Then
- Expressivity in the 1920s
- Joan of Arc, Inevitably
- The Face and its Voices
- Glamour/Anti-Glamour
- Chapter Two: Roland Barthes Looks at the Stars
- Towards "Visages et Figures," and circa 1953
- Excursus on the Face in Language
- Into the Movie Theater
- Ultra-Face
- Excursus on the Mask
- From Cult to Charm: Funny Face
- Chapter Three: Face-to-Face (with The Wrong Man)
- What Godard Saw
- What the Clerk Saw
- Excursus on Anthropometrics
- Not a Mirror, Not a Lamp
- Chapter Four: Pass/Fail: Screen Test, Apparatus, Subject
- The Antonioni Screen Test
- Excursus on the Portrait
- Sitting for the Portrait is the Portrait
- Outer and Inner Space, and the Pathos of Time
- Fail Better
- Chapter Five: In Reticence (Bresson)
- The Epidermal and the Written
- The Image Against the Face
- Not an Open Book, but a Door Ajar
- Postface: The Two-Shot
