Juxtaposes the education of the difficult people with the Grimms’ portrayal of the stepsisters’ fate (pp. 50-51) and Cinderella’s “waiting-for-a-prince” syndrome with midlife emancipation in tales like “The Wife Who Became King” (pp. 54-73). The concept of “the multiperspectival form” does seem to offer “a lens through which to view other possible instances of international transformation today” (Ruggie 2000, 196).

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Contents Notes on Contributors. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .vii Preface. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .xi Acknowledgments. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .xiii PART ONE: Criticism Shadow Play and Dripping Teat: The Night of the Hunter (1955). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .5 TOM GUNNING Between Melodrama and Realism: Under the Skin of the City (2001). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .8 LAURA MULVEY Internalising the Musical: The Band Wagon (1953). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .11 ANDREW KLEVAN The Visitor’s Discarded Clothes in Theorem (1968). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .15 STELLA BRUZZI Style and Sincerity in Quentin Tarantino’s Kill Bill Vol. 2 (2004). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .19 JAMES WALTERS The Moves: Blood (1989). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .23 ADRIAN MARTIN The Properties of Images: Lust for Life (1956). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .27 STEVE NEALE Two Views over Water: Action and Absorption in Ingmar Bergman’s Wild Strawberries (1957). .. .. .. .. .. .. .. .. .. .. .. .30 EDWARD GALLAFENT Making an Entrance: Bette Davis’s First Appearance in Jezebel (1938). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .34 MARTIN SHINGLER A Narrative Parenthesis in Life Is Beautiful (1997). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .38 DEBORAH THOMAS The End of Summer: Conte d’été (1996). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .41 JACOB LEIGH Enter Lisa: Rear Window (1954). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .45 DOUGLAS PYE Opening up The Secret Garden (1993). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .49 SUSAN SMITH A Magnified Meeting in Written on the Wind (1956). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .53 STEVEN PEACOCK ‘Everything is connected, and everything matters’: Relationships in I ♥ Huckabees (2004). .. .. .. .. .. .. .. .. .. .. .. .. . .57 JOHN GIBBS The Ending of 8 1⁄2 (1963). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .61 RICHARD DYER PART TWO: History Haptic Vision and Consumerism: A Moment from Fritz Lang’s Siegfried (1924). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .70 THOMAS ELSAESSER vi FILM MOMENTS Visions of Sound in City Lights (1931). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .74 CHARLES BARR ‘Entertainment and dystopia’: Maurice Chevalier Performs Avec le sourire (1936). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .78 TOM BROWN Music, Crime and the Gaze: La Bête humaine (1938). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .85 GINETTE VINCENDEAU Thunder and Lightning: Gone with the Wind (1939) and the Logic of Synchronisation. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .90 RICK ALTMAN Hearing, Fearing: The Sonic Design of Suspense in Cat People (1942). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . .94 HELEN HANSON ‘I’ve seen him take his knife …’: The Searchers (1956). .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .98 R , e.g. Dear Mr Shaw: Selections from Bernard Shaw's Postbag.

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