New PDF release: Bad: Infamy, Darkness, Evil, and Slime on Screen

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Extra resources for Bad: Infamy, Darkness, Evil, and Slime on Screen

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2002. com (March 21). Eyman, Scott. 1999. Print the Legend: The Life and Times of John Ford. New York: Simon & Schuster. Harris, Marvin. 1989. Cows, Pigs, Wars, and Witches: The Riddles of Culture. New York: Vintage. Johnson, Freya. 1997. html. 18 MURRAY POMERANCE McKelly, James C. 1996. , Pictures of a Generation on Hold: Selected Papers, Toronto: Media Studies Working Group, 1996, 107–14. Naiman, Joanne. 2000. How Societies Work: Class, Power, and Change in a Canadian Context. Toronto: Irwin.

Tricks that undo themselves are thus essential to an Enlightenment system that seeks to separate visual illusion from scientific certainty. Likewise, Justice McKenna did not claim that cinema was by nature evil, simply that it had the capacity, the power for it. Films that used their power of attraction harmlessly would not be subject to censorship, the decision stressed, only those that crossed the line. The enlightenment interest in “philosophical toys”—those visual devices that demonstrated illusions and the manner in which they were caused (including the various motion devices such as the thaumatrope or phenakistoscope to which the origins of the cinema are frequently traced) were designed, as Stafford has shown, primarily for the education of the elite young.

W. Murnau, Jofa-Ateler/Berlin-Johannisthal, 1922). (Frame enlargement) CHAPTER ONE ᪿ Flickers: On Cinema’s Power for Evil TOM GUNNING They are letters and symbols in a language I don’t know; but I know they stand for evil words. —G. K. Chesterton, “The Wrong Shape” There is Power in Evil. —Herlof’s Marta in Carl Theodore Dreyer’s Day of Wrath C ould cinema in its essence be evil? When Georges Bataille (1981) claims literature for Evil, he is speaking primarily of the tales that literature tells, of the importance of transgression to literary narrative (vi).

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